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BOSTON: 

J.  E.  TILT  ON   AND  COMPANY. 
I860. 


Entered,  according  to  Act  of  Congress,  in  the  year  1860,  by 

J.  E.  TILTON  AND  COMPANY, 
I«  the  Clerk's  Office  of  the  Djgtrict  Court  for  the  District  of  Massachusetts 


TO 


SAMUEL  P.  LONG,  ESQ., 

AS  AN  HUMBLE  TRIBUTE  OP  ADMIRATION  FOR  HIS  ARTISTIC 
AND  LITERARY  USEFULNESS, 

AND  TO  THOSE  FRIENDS  WHO   HAVE  PARTICIPATED 
WITH  ME  IN  MANY  OF   THESE   SCENES, 

Sins   Sll'orJi 

IS  RESPECTFULLY  INSCRIBED, 

BY  THE   AUTHOR. 


PREFACE. 


A  SINCERE  desire  to  extend  the  influence  of  a  pure  and 
ornamental  art,  to  promote  and  extend  a  perfect  system  of 
what  is  really  beautiful  in  the  forming  of  the  Tableau,  to 
awaken  in  the  minds  of  many  a  quicker  sense  of  the  grace 
and  elegance  which  familiar  objects  are  capable  of  affording, 
and  to  encourage  all  to  cherish  a  taste  for  the  beautiful,  have 
influenced  the  author  to  issue  this  volume. 

Art  should  not  be  confined  entirely  to  the  studio  of  the 
artist.  Her  presence  should  embellish  every  home ;  her  spirit 
should  animate  every  mind.  She  is  unwearied  in  her  best 
and  brightest  attributes,  restricting  her  influence  to  no  pe- 
culiar spot  of  earth,  nor  conforming  her  claims  to  any  one 
sphere.  Beauty  of  form  is  still  beautiful,  be  it  found  in 
the  humble  cottage  or  in  the  magnificent  palace. 

A  perfect  picture  will  be  recognized  and  appreciated 
whenever  displayed,  or  by  whomsoever  produced.  In  fine, 
nature  is  still  nature,  and  the  germ  of  poetical  feeling  is 
similar  in  its  manifestation  wherever  it  may  chance  to  be 
shown. 

The  delineation  of  the  natural  and  poetical,  its  realiza- 
tion upon  canvas,  or  upon  paper,  or  in  the  living  picture, 
tends  to  improve  the  mind,  assimilates  the  real  with  the 

(7) 


8  PREFACE. 

ideal,  conforms  taste  to  the  noblest  standard,  overflows  the 
heart  with  pure  and  holy  thoughts,  and  adorns  the  exterior 
form  with  graces  surpasssing  those  of  the  Muses.  The 
producing  and  forming  of  tableaux  vivants  have  been  the 
author's  study  for  the  past  ten  years.  The  choicest  gems 
which  adorn  this  volume  are  mostly  imaginary  scenes ; 
others  are  selected  from  the  poets;  and  a  few  are  sug- 
gested by  rare  engravings. 

The  author,  in  his  endeavors  to  impart  and  explain  many 
things,  has  been  obliged  to  sacrifice  show  and  style  upon  the 
altar  of  simplicity ;  at  least,  such  has  been  his  constant 
aim.  For  all  imperfections  and  defects  he  invokes  the 
charity  of  a  candid  public.  If  this  volume  should  in  any 
degree  satisfy  a  want  that  has  been  long  felt,  or  add  one 
devotee  to  the  shrine  of  beauty,  the  author  will  consider 
his  endeavors  amply  repaid. 

JAMES   H.  HEAD. 

PORTSMOUTH,  September  2,  1859. 


CONTENTS. 


PAGE 

INTRODUCTION .13 

The  Wreath  of  Beauty, 25 

The  Marble  Maiden 27 

Venus  rising  from  the  Sea 31 

Reception  of  Queen  Victoria  at  Cherbourg, 32 

Scene  from  the  Opera  of  "  Sappho,"          .    •    .        .        .        .  38 

Flora  and  the  Fairies, 42 

The  Spectre  Bride 45 

Music,  Painting,  and  Sculpture, 52 

Bust  of  Proserpine 53 

Napoleon  and  his  Old  Guard  at  Waterloo, 56 

The  Dancing  Girl  in  Repose, 60 

Washington's  Entrance  into  Portsmouth, 62 

Fame, 67 

Faith 70 

Spirit  of  Religion, 72 

The  Poet  and  the  Goddess  of  Poetry, 74 

Death  of  Edith 77 

Abou  Ben  Adhem  and  the  Angel, 80 

Hiawatha  and  his  Bride's  Arrival  Home, 83 

David  playing  before  Saul, 87 

(9) 


10  CONTENTS. 


PAGE 


Liberty 89 

Paganism  and  Christianity 91 

Second  Scene  of  Paganism  and  Christianity,      .         .         .  94 

The  Fairies'  Dance, 96 

Bust  of  Prayer 99 

Morning  welcomed  by  the  Stars, 100 

The  Statue  Vase, 104 

Spirit  of  Chivalry,         .         . 106 

Haidee  and  Bon  Juan  in  the  Cave Ill 

Poverty 114 

Death  of  Minnehaha, 116 

The  Mother's  Last  Prayer, 120 

Louis  XVI.  and  his  Family, 122 

Dressing  the  Bride 127 

Hope,  Faith,  Charity,  and  Love 130 

The  Death  of  General  Warren 132 

Portrait  of  Prince  Albert 135 

The  Return  of  the  Prodigal  Son 136 

Single  Blessedness, 138 

Marriage  Bliss, 140 

The  Sleeping  Maiden, 141 

Night  and  Day, 144 

The  Firemen  in  Repose 145 

The  Alarm, 146 

At  the  Fire, 147 

Ethan  Allen  at  Ticonderoga, 149 

The  Gypsy  Fortune  Teller 151 

Peace, 152 

War, 155 

The  Rescue, 157 

Solomon's  Judgment, 159 


CONTENTS.  11 


PAGE 


The  Bridal  Prayer 162 

The  Guitar  Lesson, 163 

Roger  Williams  preaching  to  the  Indians, 164 

Crossing  the  Line, 167 

The  Wedding, 1C9 

Hiawatha  sailing, 171 

The  Village  Stile, 173 

Florence  Nightingale  in  the  Crimea, 175 

The  Fireman's  Statue 177 

Joan  of  Arc  at  the  Siege  of  Orleans, 178 

The  Parting, 183 

Hagar  and  Ishmael  in  the  Wilderness, 185 

The  Fight  for  the  Standard, 187 

Jonathan's  Visit  to  his  City  Cousins, 189 

The  Three  Graces, 190 

The  Guardian  Angel, 191 

The  Pyramid  of  Beauty, 193 

Coronation  of  Queen  Victoria, 195 

The  Brigands, 198 

Death  of  Sir  John  Moore, 200 

The  Fireman's  Rescue, 203 

Catharine  Douglass  barring  the  Door  with  her  Arm,          .         .       205 

The  Masquerade  Ball 207 

Irish  Courtship, 209 

The  Fairies'  Offering  to  the  Queen  of  May 210 

Belshazzar's  Feast, 213 

The  Valentine 217 

The  Fairies'  Rainbow  Bridge, 219 

Little  Eva  and  Uncle  Tom 222 

Love  triumphant,        .........      224 

The  Banditti 226 


12  CONTENTS. 


PAGE 


Portrait  of  Louis  Napoleon, 229 

The  Return,  from  the  Vintage 230 

Lovers  Going  to  the  "Well, 232 

The  Italian  Flower  Vase, 234 

Portrait  of  the  Madonna, 236 

The  Shoemaker  in  Love, 237 

Prince  Charles  Edward  after  the  Battle  of  Culloden,         .        .      239 

The  Flower  Girl 242 

Presentation  of  Fireman's  Trumpet 243 

The  Painter's  Studio, 245 

Portrait  of  Gabrielle, 247 

The  Elopement, 249 

Fireman's  Coat  of  Arms, 251 

The  Soldier's  Farewell 252 

Ike  Partington's  Ghost, 254 

The  Peasant  Family  in  Repose,     .......  255 

The  Soldier's  Return, 257 


NOTES  AND  EXPLANATIONS,      .        .        .        .        .        .         259-264 


INTRODUCTION. 


THE  Tableaux  Yivants  may  be  new  to  many  of  our 
readers,  although  they  have  been  produced  and  have 
been  quite  popular  in  Europe,  and  to  some  extent  in 
this  country.  For  public  or  private  entertainment, 
there  is  nothing  which  is  so  interesting  and  instructive 
as  the  tableau.  The  person  most  fitted  to  take  charge 
of  a  tableau-company  is  one  who  is  expert  at  drawing 
and  painting :  any  one  who  can  paint  a  fine  picture 
can  produce  a  good  tableau. 

The  individual  who  makes  all  of  the  necessary  ar- 
rangements for  a  series  of  tableaux  is  generally  called 
the  stage  manager.  His  first  work  is  to  select  a  pro- 
gramme of  tableaux  ;  and  in  this  list  there  should  be  a 
variety  of  designs,  comprising  the  grave,  the  comic,  and 
the  beautiful.  A  manuscript  should  be  used  in  which 
to  write  the  names  of  the  tableaux,  directions  for  form- 
ing each,  the  names  of  the  performers,  the  parts  which 
they  personate,  the  styles  of  the  costumes,  and  the 
quantity  and  kind  of  scenery  and  furniture  used  in 
each  design. 

2  (13) 


14 


INTRODUCTION. 


The  following  diagram  will  illustrate  the  manner  in 
which  the  manuscript  should  be  arranged  :  — 


NAME    OF    TABLEAU. 

NO 

Directions  for  forming  cos- 
tumes, &c. 

Ladies. 

Personation. 

Gentlemen. 

Personation. 

Scenery,  furniture,  &c. 

After  the  manuscript  is  completed,  it  will  be  neces- 
sary to  select  the  company  and  assign  the  parts. 
The  number  of  persons  required  in  a  first-class  tableau- 
company  is  forty.  It  will  be  necessary  to  have  that 
number  to  produce  large  pictures  ;  fifteen  or  twenty- 
five  persons  will  be  sufficient  for  smaller  represen- 
tations. In  forming  the  company,  the  following 
persons  should  be  selected :  six  young  ladies,  of 
good  form  and  features,  varying  in  styles  and 
sizes  ;  six  young  gentlemen,  of  good  figure,  and  of 
various  heights  ;  two  small  misses  ;  two  small  lads ; 
two  gentlemen  for  stage  assistants ;  one  painter, 
one  joiner,  one  lady's  wardrobe  attendant,  one  gentle- 
man's wardrobe  attendant,  one  curtain  attendant,  one 
announcer.  If  a  large  piece  is  to  be  performed,  such 
as  the  Reception  of  Queen  Victoria,  it  will  be  neces- 
sary to  have  fifteen  or  twenty  young  gentlemen,  vary- 


INTRODUCTION.  15 

ing  from  four  to  five  feet  in  height,  to  personate 
military  and  other  figures.  Each  person  should 
have  written  instructions  in  regard  to  the  scenes  in 
which  they  take  a  part,  giving  full  descriptions  of  the 
costumes,  position,  expression,  and  character  which  they 
are  to  personate  ;  after  which  they  should  meet  in  a 
large  room,  and  go  through  a  private  rehearsal.  It  will 
be  necessary,  previously  to  appearing  before  the  public, 
to  have  three  rehearsals  —  two  private  ones,  and  one 
dress  rehearsal  on  the  stage.  It  will  be  well  to  have 
a  few  friends  witness  the  dress  rehearsal,  which  will 
give  confidence  to  the  performers,  previous  to  their 
debut  before  a  large  audience.  As  soon  as  the  com- 
pany has  been  organized,  and  each  performer  has  re- 
ceived his  several  programmes,  it  will  be  the  duty  of 
the  stage  manager  to  see  that  the  various  branches  of 
the  profession  are  progressing  in  unison  with  the  rehear- 
sals. Each  tableau  should  be  carefully  examined,  and 
a  list  of  the  machinery,  scenery,  wardrobe,  and  furni- 
ture of  each  piece  noted  down,  and  competent  persons 
immediately  set  to  work  on  their  completion.  The 
selection  of  appropriate  music,  the  drafting  and  erect- 
ing of  the  stage,  and  many  other  minor  matters, 
should  all  be  completed,  before  the  tableaux  can  be 
produced. 

But  before  proceeding  farther,  we  will  give  direc- 
tions in  reference  to  the  size  and  formation  of  the 
stage.  It  should  be  strongly  framed  of  joist,  and 
covered  with  smooth  boards,  and  placed  at  the  end 
of  the  hall,  at  equal  distances  between  the  side  walls. 


16  INTRODUCTION. 

It  should  be  twelve  feet  square,  and  six  feet  in  height. 
The  front  of  the  stage  should  be  made  to  represent  a 
large  picture  frame  ;  it  can  be  easily  made  of  boards 
ten  inches  -wide,  fastened  together  in  a  bevelled  man- 
ner, and  covered  with  buff  cambric,  ornamented  with 
gold  paper.  Oval  frames  are  frequently  used,  but  they 
are  not  so  easy  to  arrange  and  manage  as  a  square 
frame.  Cover  the  floor  of  the  stage  with  a  dark  woollen 
carpet,  drape  the  ceiling  with  light  blue  cambric,  the 
background  with  black  cambric ;  the  sides  should  be  ar- 
ranged in  the  same  style  as  the  side  scenes  of  a  theat- 
rical stage.  Stout  frames  of  wood,  two  feet  wide,  reach- 
ing to  the  ceiling,  and  covered  with  black  cambric, 
should  be  placed  on  the  extreme  edge  of  the  stage,  in 
such  a  manner  that  lamps  from  the  ante-rooms  will 
throw  a  light  upon  the  stage  and  not  be  seen  by  the 
audience.  Make  the  drop-curtain  of  stout  blue  cam- 
bric ;  fasten  a  slim  piece  of  wood  at  the  top  and  the 
bottom  ;  and,  at  intervals  of  one  foot  on  both  of  the 
poles,  fasten  loops  of  thick  leather,  containing  iron 
rings  one  inch  in  diameter,  and  between  the  bottom 
and  top  rings,  at  intervals  of  one  foot,  fasten  small 
brass  rings  ;  these  should  be  attached  to  the  cambric 
on  the  inside  of  the  curtain  ;  then  fasten  the  top  pole 
to  the  inside  of  the  top  of  the  frame,  and  attach  strong 
lines  to  the  bottom  rings ;  pass  the  cords  through  the 
brass  rings  and  the  iron  rings  at  the  top  ;  then  gather 
them  together,  and  pass  them  through  a  ship's  block 
fastened  in  the  ante-room.  As  the  lines  will  be  quite 
likely  to  run  off  of  the  wheel,  a  piece  of  hard  wood, 


INTRODUCTION.  17 

with  a  circle  at  one  end,  fastened  on  the  inside  of  the 
frame,  will  answer  a  better  purpose  for  the  cords  to 
pass  through.  After  passing  them  over  the  block,  tie 
them  together,  and  the  curtain  will  be  ready  for  use. 
When  the  ropes  are  drawn,  the  curtain  will  rise  Tip  in 
folds  to  the  top  of  the  frame.  The  floor  of  the  stage 
should  be  built  out  on  the  front  twelve  inches,  for  the 
placing  of  a  row  of  gas-burners  with  tin  reflectors, 
painted  black  on  the  outside  ;  this  row  of  lights  should 
be  furnished  with  a  stopcock,  which  can  be  placed  in 
the  gentleman's  dressing-room.  A  row  of  strong  lights 
should  also  be  placed  on  each  side  of  the  stage,  within 
three  feet  of  the  ceiling  ;  these  also  should  have  reflect- 
ors and  separate  stopcocks,  for  the  purpose  of  casting 
the  proper  lights  and  shades  on  the  stage. 

The  Dressing-rooms  are  on  each  side,  and  beneath 
the  stage.  The  floor  of  the  stage  should  extend  out 
on  each  side,  making  small  rooms  for  the  placing  of 
the  scenery,  furniture,  <fcc.  A  trap-door  should  be  cut 
in  the  floor  of  each  room,  and  flights  of  steps  reaching 
down  into  the  rooms  below,  which  are  used  for  dress- 
ing-rooms. A  partition  placed  under  the  stage  divides 
the  ladies'  from  the  gentlemen's  room  ;  these  rooms 
are  covered  on  the  front  with  strong  cloth,  and  dec- 
orated with  flags. 

A  stage  for  tableaux  in  a  private  dwelling-house 
should  be  formed  similarly  to  a  hall  stage,  but  so  con- 
structed that  it  .can  be  put  together  in  a  few  minutes. 
The  platform  should  be  fourteen  feet  square,  made  in 
three  sections,  so  that  it  can  be  handled  easily,  and 
2* 


18  INTRODUCTION. 

should  rest  on  a  frame  of  small  joist,  which  can  be  mor- 
tised together  at  the  corners  ;  place  the  frame  on  four 
boxes,  two  feet  square  ;  at  the  corners  of  the  platform 
mortise  four  square  holes,  in  which  insert  pieces  of  joist 
which  will  reach  to  the  ceiling  ;  around  the  top  fasten 
strips  of  board,  by  means  of  screws.  Make  the  frame 
in  three  pieces,  cover  them  with  cambric,  and  fasten 
them  to  the  front  joist,  and  on  the  top  board  with  long 
screws  ;  arrange  the  curtain  and  scenery  similar  to  the 
hall  stage.  The  wardrobes  and  furniture  can  be  fur- 
nished by  the  members  of  the  company,  and  with  a  little 
ingenuity  and  taste,  many  suits  can  be  gotten  up  with 
little  expense.  As  the  view  of  the  tableaux  is  but  mo- 
mentary, the  quality  of  the  costumes  will  not  be  noticed. 

For  a  single  evening's  entertainment,  the  following 
arrangement  will  suffice,  providing  there  be  a  long  en- 
try or  a  large  parlor,  separated  by  folding  doors.  If 
the  entry  is  used,  let  the  performers  form  their  tableaux 
at  the  lower  end  ;  and  when  all  is  ready,  the  audience 
can  be  called  from  the  parlors  to  witness  the  scene. 
A  parlor  with  folding  doors  is  undoubtedly  the  best 
place,  as  the  doors  can  be  slowly  opened,  which  will 
give  a  better  effect  to  the  scene.  Cover  the  wall  back 
of  the  tableaux  with  black  shawls,  place  the  lights  on 
a  table  at  one  side  of  the  picture,  and  hide  them  from 
the  view  of  the  audience  by  placing  a  screen  of  thick 
cloth  in  front  of  them. 

In  forming  up  a  tableau,  lights  and  shades  should 
be  studied ;  in  fact,  this  is  the  main  secret  of  produ- 
cing effects,  and  by  managing  the  lights  about  the  stage 


INTRODUCTION.  19 

correctly,  you  can  throw  parts  of  your  picture  in  shad- 
ow, while  other  portions  are  light.  Care  should  also 
be  taken  not  to  have  too  great  a  variety  of  colors  in  a 
picture.  The  showy  costumes  should  be  intermingled 
with  those  of  modest  appearance,  and  the  lightest  char- 
acters, as  a  general  rule,  should  be  placed  in  the  back- 
ground to  relieve  the  dark  ones ;  those  in  the  back- 
ground should  be  placed  on  platforms.  If  there  are 
many  figures  in  the  piece,  it  will  be  necessary  to  have 
a  number  of  forms,  of  various  heights,  placed  in  the 
background  —  in  this  manner  all  of  the  figures  will 
be  seen. 

The  scenery,  furniture,  and  machinery  of  each  piece 
should  be  arranged  previous  to  the  entrance  of  the  per- 
formers on  the  stage.  Each  performer  should  be  called 
on  separately,  and  placed  in  position.  By  adopting  this 
plan,  every  tableau  can  be  formed  without  noise  or  con- 
fusion. When  the  position  is  once  taken,  it  should  be 
kept,  unless  it  is  a  very  difficult  one. 

The  stage  manager  should  take  his  position  at  the 
front  of  the  stage,  and  see  that  each  one  is  in  his  proper 
place.  He  should  prohibit  laughter  or  conversation 
among  the  performers,  unless  any  one  wishes  expla- 
nations in  regard  to  the  piece.  He  should  be  strictly 
obeyed  in  all  matters  referring  to  the  tableaux ; 
and  when  he  has  properly  adjusted  every  thing  on 
the  stage,  he  should  remove  to  the  ante-rooms,  and 
see  that  the  lights,  music,  <fec.,  are  ready.  He  should 
then  ring  a  small  bell,  and  the  announcer  in  the  hall 
will  havo  a  programme  of  the  tableaux,  and  will  an- 


20  INTRODUCTION. 

nounce  the  piece  ;  and  if  there  is  any  accompanying 
poem  to  be  read,  it  will  be  his  duty  to  read  it.  The 
manager  will  then  ring  the  second  bell ;  this  will  be  a 
signal  for  the  performers  on  the  stage  to  take  their 
positions,  and  for  the  lights  to  be  turned  down  in  the 
hall.  In  thirty  seconds  after  the  second  bell,  the  man- 
ager will  ring  a  third  time,  which  will  be  a  signal  for 
the  curtain  attendant  to  draw  up  the  curtain,  which 
should  rise  slowly  to  the  top  of  the  frame,  and  be  kept 
up  about  thirty  seconds.  Each  tableau  should  be  ex- 
hibited twice,  and  in  some  cases  three  times.  After 
the  last  exhibition,  the  performers  should  quietly 
proceed  to  the  ante-rooms,  and  immediately  dress  for 
the  next  tableau.  The  manager  and  assistants  will 
see  that  the  stage  is  cleared  of  the  scenery,  and  new 
scenery  adjusted  for  the  next  piece.  It  will  be  neces- 
sary to  work  with  rapidity,  as  there  are  many  things  to 
perform  which  in  the  aggregate  will  take  much  time. 
Large  programmes  should  be  placed  in  each  dressing- 
room,  so  that  the  performers  will  be  able  to  tell  in 
which  tableau  they  are  to  perform,  without  inquiring 
of  the  manager.  Each  performer  should  be  furnished 
with  a  large  trunk  to  keep  his  wardrobe  in  ;  and  when 
a  change  of  costume  is  made,  care  should  be  taken 
that  each  one  places  his  costumes  in  his  own  trunk. 
If  this  plan  is  not  followed,  before  the  exhibition  is 
through,  many  articles  will  be  missing,  which  will 
retard  the  performance. 

Each  piece  of  machinery,  furniture,  scenery,  &c., 
should  have  a  proper  place  where  it  should  be  left 


INTRODUCTION.  21 

when  not  in  use.  Nails,  pins,  hammers,  and  other 
articles  which  come  in  constant  use,  should  be  kept  in 
a  large  box  near  the  stage.  By  working  systematically, 
every  thing  will  move  on  with  clockwork  nicety,  and  all 
confusion  be  avoided.  Colored  fires  should  be  burnt 
in  the  ante-rooms  at  the  sides  of  the  stage  ;  smoke  and 
clouds  should  be  produced  at  the  back,  or  in  the  centre 
of  the  stage.  The  preparation  can  be  ignited  by  fasten- 
ing a  lighted  fuse  to  a  long  rod.  Large  tableaux  re- 
quire all  the  light  than  can  be  produced.  Medium 
pictures  should  be  shaded  in  different  parts.  Statuary 
tableaux  require  a  soft  and  mellow  light.  Night  scenes 
require  but  little  light,  which  should  be  partially  pro- 
duced by  the  burning  of  green  fire.  The  following 
articles  are  indispensable  to  a  well-arranged  tableaux 
stage  :  — 

One  melodeon,  six  common  chairs,  four  ditto  of  better 

x 

quality,  two  small  tables,  two  sinks,  two  sets  of  pitchers 
and  ewers  ;  two  mirrors,  combs,  hair  brushes,  pins, 
tumblers,  twine  and  rope  ;  napkins,  nails,  tacks,  buck- 
ets, hammers,  brooms,  cloth  brushes,  small  bell,  large 
bell,  scissors  ;  one  large  table,  one  large  chair,  one  set 
damask  curtains,  four  boxes,  four  feet  long  and  eigh- 
teen inches  wide,  six  ditto  eighteen  inches  square  ;  two 
pieces  black  cambric,  six  feet  square ;  four  pieces  white 
cotton  cloth,  six  feet  square  ;  (these  boxes  and  cloths 
are  to  be  used  in  forming  up  the  groundwork  of  almost 
every  tableau  ;)  two  red  damask  table  covers,  (very 
handy  things  to  use  in  decorating  showy  pictures ;) 
one  circular  platform,  four  feet  in  diameter,  (much 


22  INTRODUCTION. 

used  to  form  the  top  of  pedestals  to  group  statuary 
tableaux  on  ;)  two  steel  bars,  for  producing  sounds  to 
represent  alarm  bells ;  one  bass  drum,  one  tenor  drum, 
one  flask  of  powder,  one  box  of  material  for  colored 
fires,  one  set  of  water-colors,  one  case  containing  pink 
saucer,  chalk  balls,  pencil-brushes,  and  burnt  cork. 

It  would  be  almost  impossible  to  furnish  a  complete 
list  of  the  articles  necessary.  Those  we  have  omitted 
will  suggest  themselves,  or  the  occasion  will  suggest 
them.  By  closely  studying  the  plans  we  have  outlined, 
we  are  certain  that  no  person  with  tact  and  taste  could 
assume  the  directorship  of  a  tableau-company  without 
success. 


t 


(23) 


WALK,  with  the  Beautiful  and  with  the  Grand ; 
Let  nothing  on  the  earth  thy  feet  deter ; 
Sorrow  may  lead  thee  weeping  by  the  hand, 
But  give  not  all  thy  bosom-thoughts  to  her ; 
Walk  with  the  Beautiful. 


I  hear  thee  say,  "  The  Beautiful !  what  is  it  ?  " 
O,  thou  art  darkly  ignorant !    Be  sure 
'Tis  no  long,  weary  road  its  form  to  visit, 
For  thou  canst  make  it  smile  beside  thy  door ; 
Then  love  the  Beautiful. 


Ay,  love  it ;  'tis  a  sister  that  will  bless, 
And  teach  thee  patience  when  the  heart  is  lonely; 
The  angels  love  it,  for  they  wear  its  dress, 
And  thou  art  made  a  little  lower —  only ; 

Then  love  the  Beautiful. 

BCBEINOTON. 


(24) 


THE   WREATH   OF   BEAUTY. 

While  Beauty  comes  to  every  human  heart, 
And  lingers  there,  unwilling  to  depart, 
Too  many  own  her  not,  nor  heed  her  claim, 
But  blindly  follow  some  ignoble  aim. 

LAIOHTON. 

Ten  Female   Figures. 

THIS  elegant  design  is  one  of  the  finest  of  this  series 
of  tableaux,  and  is  composed  of  ten  young  and  beau- 
tiful ladies,  grouped  so  as  to  represent  a  magnificent 
wreath.  The  bottom  of  the  wreath  rests  on  the  front 
of  the  stage  ;  the  top  reaches  up  to  the  ceiling,  forming 
a  complete  circle  of  beautiful  forms  and  fair  faces, 
among  which  are  entwined  festoons  of  flowers.  Inside 
of  this  circle  is  a  large  wreath  six  feet  in  diameter,  and 
five  inches  in  thickness  ;  this  rests  on  a  pink  ground, 
and  is  composed  of  spruce,  ornamented  with  artificial 
flowers. 

The  first  work  in  the  construction  of  this  tableau  is 
to  erect  a  circle  of  seats  reaching  from  the  front  of  the 
stage  to  the  ceiling,  in  the  background.  This  can  be 
easily  accomplished  by  using  boxes  of  various  sizes. 
The  wreath  should  be  ten  feet  in  diameter  ;  the  boxes 
should  be  entirely  covered  with  white  cloth,  the  space 
in  the  centre  with  pink  cambric. 

3  (25) 


26  THE   TABLEAU. 

The  costume  of  the  ladies  consists  of  a  white  dress, 
cut  very  low  in  the  neck  ;  skirt  quite  long,  and  worn 
with  few  under  skirts  ;  sleeves  four  inches  long,  trimmed 
with  white  satin  ribbon  ;  waist  encircled  with  a  white 
satin  sash  ;  feet  encased  in  white  slippers  ;  hair  ar- 
ranged to  suit  the  performer's  taste,  and  encircled  with 
a  wreath  of  white  artificial  flowers.  The  lady  at  the 
top  of  the  wreath  should  first  take  her  position.  She 
should  be  the  lightest  in  weight  of  the  group,  and 
should  recline  in  an  easy  position,  resting  her  head 
upon  her  hand,  the  elbow  touching  the  box,  and  the 
body  slightly  inclined  to  the  right.  The  second  lady 
will  then  take  her  position  at  the  right  of  the  first,  on 
the  seat  below,  her  arm  resting  on  the  form  of  the  lady 
above,  the  right  hand  supporting  her  head,  the  face 
turned  in  to  the  centre  of  the  circle,  the  eyes  raised  to 
those  of  the  figure  above.  The  remaining  figures 
should  take  similar  positions,  until  one  half  of  the 
circle  is  complete.  The  other  side  of  the  circle  is 
arranged  in  a  similar  manner,  —  the  figures  facing 
inward. 

The  wreath  of  spruce  and  flowers  is  to  be  placed 
within  the  circle  of  ladies.  The  stage  and  the  back 
scene  should  be  hung  with  green  booking,  and  care 
must  be  exercised  in  the  forming  of  the  circle,  so  that 
it  shall  appear  perfectly  round.  The  small  festoons  of 
flowers  should  be  entwined  among  the  figures,  after 
they  have  taken  their  position.  The  expression  of  the 
countenances  should  be  pleasant  and  animated.  The 
light  for  this  piece  should  come  from  the  foot  of  the 


THE   MARBLE   MAIDEN.  27 

stage,  and  should  be  quite  brilliant.  Music  soft,  and 
of  a  secular  character.  The  tableau,  when  finished, 
at  a  distance  appears  like  an  immense  wreath  resting 
against  a  grassy  bank. 


THE   MARBLE   MAIDEN. 

Paulina.  As  she  lived  peerless, 

So  her  dead  likeness,  I  do  well  believe, 
Excels  whatever  yet  you  looked  upon 
Or  hand  of  man  done ;  therefore  I  kept  it 
Lonely  apart ;  but  here  it  is :  prepare 
To  see  the  life  as  likely  mocked  as  ever. 
Still  sleep  mocked  death  ;  behold,  and  say  'tis  well. 

WINTER'S  TALE. 

Three  Female  and  eleven  Male  Figures. 

THIS  tableau  is  taken  from  Shakspeare's  drama, 
"  The  Winter's  Tale."  The  scene  is  that  wherein  Pau- 
lina draws  away  the  curtain  and  discloses  the  marble 
statue.  She  is  addressing  Leontes,  who  is  seen  in  the 
foreground.  At  the  left  of  the  stage,  a  group  of  five 
gentlemen  and  one  lady  is  seen  ;  on  the  opposite  side 
of  the  stage  is  another  group  of  five  gentlemen  ;  all 
of  which  are  in  position,  so  that  a  profile  view  is  ex- 
hibited. 

The  scenery  of  this  piece  consists  of  a  curtain  pass- 
ing across  the  stage,  three  feet  from  the  back  end. 
The  curtain  described  in  the  tableau  of  the  "  Dancing 
Girl  in  Repose  "  will  answer  for  this  scene,  but  should 


28  THE    TABLEAU. 

be  allowed  to  hang  straight  from  the  top,  in  place  of 
being  looped  up  at  the  sides.  Arranged  in  this  way,  it 
will  leave  an  open  space  of  five  or  six  feet  in  the  centre. 
The  background  is  seen  through  this  opening,  and  is  to 
be  festooned  with  wreaths  of  evergreens  and  flowers. 
Close  up  to  the  back  wall  is  placed  a  platform,  made  in 
two  pieces,  the  first  being  four  feet  square  and  one  foot 
high.  On  this  rests  a  second  platform,  three  feet  square 
and  one  foot  high.  At  the  right  side  of  the  upper  plat- 
form is  placed  a  round  pedestal,  three  feet  high  and 
one  foot  in  diameter ;  this  has  a  cap  and  base,  and  can 
be  made  of  card-board,  and  covered  with  white  marble 
paper.  The  platform  is  to  be  covered  with  black  mar- 
ble paper. 

By  the  side  of  the  pedestal  stands  the  statue.  The 
lady  who  personates  this  figure  should  be  rather  slim, 
of  medium  height,  good  features,  and  dark  hair.  Cos- 
tume consists  of  a  loose,  white  robe,  worn  with  but  few 
skirts,  the  sleeves  very  short,  the  waist  cut  low  at  the 
neck,  the  skirt  long  enough  to  trail  on  the  platform  ; 
the  whole  covered  with  white  tarleton  muslin.  Across 
the  shoulders,  and  tied  at  the  right  side,  is  worn  a 
heavy  muslin  mantle,  trimmed  on  each  edge  with  white 
satin  ribbon.  The  hair  is  arranged  in  a  neat  coil,  and 
a  small  wreath  of  white  leaves  encircles  the  head. 
These  are  made  of  white  paper,  and  fastened  to  a  wire 
frame.  The  statue  stands  perfectly  straight  at  the  side 
of  the  pedestal,  one  arm  resting  on  the  top,  the  hand 
hanging  down  over  the  front,  while  the  left  arm  hangs 
gracefully  at  the  side.  The  eyes  are  directed  to  the 


THE   MARBLE   MAIDEN.  29 

figure  of  Leontes  in  the  foreground.  Pauline,  who 
draws  the  curtain  aside,  is  costumed  in  a  black  silk 
dress,  with  a  velvet  waist,  trimmed  with  bugles,  and 
interspersed  with  silver  spangles.  The  hair,  arranged 
in  a  single  coil,  is  decorated  with  a  velvet  band,  with 
white  paste  pin  in  the  centre,  from  the  back  of  which  is 
fastened  a  long  black  lace  veil,  falling  gracefully  over 
the  shoulders,  and  reaching  nearly  to  the  floor.  She 
is  standing  at  the  right  of  the  curtain,  one  hand  grasp- 
ing its  folds,  while  the  other  is  extended,  and  points  to 
the  statue.  A  profile  view  is  had  of  the  figure :  the 
head  is  slightly  turned,  the  eyes  directed  to  Leontes  in 
the  foreground.  Leontes'  costume  consists  of  a  black 
coat,  belted  around  the  waist,  black  knee  breeches  and 
hose,  confined  with  a  gold  band  and  showy  paste  pin. 
The  collar  and  cuffs  of  the  coat  are  decorated  with  deep 
white  lace.  A  short  sword  is  suspended  from  the  belt ; 
the  feet  are  covered  with  low  shoes,  with  showy  buckles  ; 
the  head  is  encircled  with  a  silver  band,  one  inch  wide, 
with  a  brilliant  pin  in  the  centre.  Fastened  around 
the  neck,  and  hanging  over  the  shoulders,  is  a  black 
velvet  cape  —  a  small,  lady's  cape  will  answer.  Posi- 
tion is  standing  on  the  extreme  front  of  the  stage,  with 
both  hands  extended  above  the  head,  the  body  thrown 
back,  the  feet  extended  from  each  other,  the  back 
turned  to  the  audience,  the  head  inclined  to  one  side, 
so  that  a  side  view  is  had  of  the  face,  while  the  eyes  are 
directed  to  the  statue.  Behind  Leontes  stands  a  tall 
figure,  costumed  in  a  black  coat  and  knee  breeches, 
white  hose,  knee  and  shoe  buckles,  low  shoes,  waist 
3* 


30  THE   TABLEAU. 

encircled  with  a  belt,  a  short  cloak  thrown  over  the 
right  shoulder.  The  other  figures  are  costumed  in  a 
similar  manner,  and  stand  between  Leontes  and  the 
side  of  the  stage,  and  are  looking  intently  at  the  statue. 
Three  more  gentlemen,  costumed  in  a  similar  style, 
occupy  positions  on  the  opposite  side  of  the  ^tage,  close 
to  the  wings.  A  profile  view  is  had  of  their  figures, 
while  their  faces  are  turned  towards  the  statue.  In 
front  of  this  group  stands  a  young  man,  with  his  arm 
placed  around  the  waist  of  a  young  lady  who  stands  at 
his  side,  and  in  such  a  position  that  we  have  almost  a 
back  view  of  them.  The  lady  is  costumed  in  a  white 
dress,  cut  low  at  the  top,  sleeves  very  short,  skirt  long, 
so  as  to  trail  ten  inches,  ornamented  with  buff  ribbon, 
which  should  be  placed  on  the  bottom  of  the  skirt, 
around  the  waist,  on  the  top  of  the  waist,  and  on  the 
sleeves.  Her  hair  should  hang  loosely  over  the  shoul- 
ders, the  head  encircled  with  a  string  of  feldspar  or 
pearl  beads.  The  hands  are  clasped  in  front  of  her 
bosom,  the  body  inclined  forward  slightly,  the  eyes 
directed  towards  the  statue.  The  gentleman  at  her 
side  stands  erect.  His  costume  consists  of  a  dark  coat, 
ornamented  around  the  bottom  with  silver  paper,  cov- 
ered with  black  lace,  the  sleeves  and  collar  trimmed  in 
the  same  mode,  with  an  addition  of  wide  white  lace 
cuffs  and  collar  ;  the  breeches  are  of  black  cloth,  with 
a  band  of  silver,  and  buckle  at  the  knee  ;  white  hose, 
low  shoes,  with  buckles,  a  wide  belt  around  the  waist, 
from  which  is  suspended  a  long,  slim  sword.  The 
lights  on  each  side  of  the  background,  where  the  statue 


VENUS   RISING   FROM   THE   SEA.  31 

is  placed,  should  be  quite  brilliant.  The  foreground 
should  receive  the  rays  of  light,  which  should  be  of 
medium  quantity,  from  the  side  of  the  stage  where 
Leontes  stands.  Music  soft  and  plaintive. 


VENUS   RISING   FROM  THE   SEA. 

Then  spoke  the  sovereign  lady  of  the  deep  — 
Spoke,  and  the  waves  and  whispering  leaves  were  still  : 

"  Ever  I  rise  before  the  eyes  that  weep, 
When,  born  from  sorrow,  wisdom  makes  the  will  ; 

But  few  behold  the  shadow  through  the  dark, 

And  few  will  dare  the  venture  of  the  bark." 

BULWEB. 

One  Female  Figure. 

THIS  tableau  is  represented  by  one  beautiful  lady, 
whose  costume  consists  of  a  flesh-colored  dress,  fitting 
tightly  to  the  body,  so  as  to  show  the  form  of  the  per- 
son. The  hair  hangs  loosely  on  the  shoulders  and 
breast,  and  is  ornamented  with  coral  necklaces,  while 
the  neck  is  adorned  with  pearls.  To  represent  the  sea, 
it  will  be  necessary  to  place,  at  intervals  of  two  feet, 
(from  wing  to  wing,)  strips  of  wood,  beginning  at  the 
floor  of  the  stage,  near  the  front,  and  rising  gradually 
as  they  recede  in  the  background,  the  last  strip  being 
two  feet  from  the  floor  of  the  stage.  After  these  have 
been  arranged,  lay  strips  of  blue  cambric  across  them  ; 
cover  them  entirely,  and  between  the  bars  of  wood  let 
the  cambric  festoon  so  as  to  represent  the  appearance 
of  waves.  It  will  be  necessary  to  fasten  the  cambric 
with  small  tacks,  to  keep  it  in  position,  while  the  ridges 


32  THE  TABLEAU. 

of  the  miniature  waves  should  be  painted  white,  to  imi- 
tate foam.  A  trap  door  should  be  cut  in  the  centre  of 
the  stage,  and  a  circle  cut  in  the  centre  of  the  cambric, 
to  admit  the  body  of  Venus.  The  waves  should  come 
up  three  inches  above  the  hips,  fitting  closely  around 
the  body.  The  water  about  the  centre  should  be  made 
white  with  foam.  A  platform  can  be  arranged  below 
the  stage  for  the  performer  to  stand  on,  and  this  can  be 
made  high  or  low,  according  to  the  height  of  the  lady, 
by  the  use  of  blocks  of  wood.  The  right  hand  of  the 
figure  is  held  above  the  head.  The  left  hand  rests  on 
the  water.  The  countenance  is  lighted  up  with  smiles. 
Small  particles  of  isinglass  scattered  on  the  waves  will 
make  them  glisten  and  sparkle,  which  will  add  to  the 
effect,  while  a  green  fire,  burned  for  twenty  seconds,  and 
then  changed  to  red  or  bluish  white,  will  give  a  fine  shade 
to  the  scene.  If  the  colored  fires  are  not  used,  the  light 
should  come  from  the  front.  Music,  soft  and  brilliant. 


EECEPTION  OF  QUEEN  VICTORIA  AT   CHERBOURG. 

Sing,  gladly  sing  ! 

Let  voice  and  string 
Our  nation's  guest  proclaim. 

She  comes  in  peace, 

Let  discord  cease, 
And  blow  the  trump  of  Fame  ! 

AJfON. 

Ten  Female  and  Twenty  Male  Figures. 

IT  was  in  the  fall  of  the  year  1858,  when  the  great 
naval  arsenals,  magazines,  and  docks,  at  Cherbourg, 


QUEEN   VICTOKIA   AT   CHEKBOURG.  38 

were  to  be  inaugurated  ;  and  notwithstanding  the  ad- 
monition of  the  English  press,  which  represented  the 
establishment  of  these  works  as  a  direct  menace  against 
Great  Britain,  and,  taken  in  connection  with  the  con- 
stant increase  of  the  French  navy,  a  proof  of  ultimate 
hostile  designs  on  the  part  of  the  emperor,  Queen  Vic- 
toria had  accepted  an  invitation  to  be  present  on  this 
occasion.  The  day  appropriated  for  the  reception  of 
the  queen  had  arrived.  The  weather  was  superb ;  the 
skies  were  blue,  and  the  waters  of  the  channel  were 
calm  and  placid.  The  shores  and  buildings,  as  far  as 
the  eye  could  reach,  were  covered  with  cavalry,  in- 
fantry, artillery,  and  citizens.  Every  bosom  in  this 
mighty  throng  was  glowing  with  enthusiasm.  The 
glittering  eagles,  the  waving  banners,  the  gleam  of 
polished  helmets  and  cuirasses,  the  clash  of  arms,  the 
soul-stirring  music  from  the  martial  bands,  and  the  in- 
cessant bustle  and  activity,  presented  a  spectacle  of 
military  splendor  which  has  seldom  been  equalled.  It 
was  war's  most  brilliant  pageant,  without  any  aspect  of 
horror.  The  frigate  La  Bretagne,  on  which  the  ban- 
quet was  to  take  place,  was  decorated  with  signals  and 
flags,  and  most  prominent  were  the  national  ensigns  of 
France  and  England.  A  triumphal  throne  was  erected 
on  the  deck  of  the  vessel,  on  which  sat  Louis  Napoleon, 
the  empress,  the  officers  and  great  dignitaries  of  the 
country,  interspersed  with  the  ladies  of  honor.  Salutes 
from  the  surrounding  forts  and  ships  of  war  announced 
the  arrival  of  the  barge  containing  the  Queen  of  Eng- 
land, Prince  Aloert,  and  suite.  They  were  received  on 


34  THE   TABLEAU. 

board  the  frigate  by  Napoleon,  amid  the  salvos  of  artil- 
lery and  strains  of  martial  music.  "  God  save  the 
Queen,"  and  French  national  airs,  were  played  by 
the  bands,  and  the  nation's  guest  was  addressed  by 
Napoleon,  who,  in  proposing  Victoria's  health,  said,  — 

"  Facts  prove  that  hostile  passions,  aided  by  a  few 
unfortunate  incidents,  did  not  succeed  in  altering 
either  the  friendship  existing  between  the  two  crowns, 
or  the  desire  of  the  two  nations  to  remain  at  peace. 
He  entertained  the  sincere  hope  that  if  attempts  were 
made  to  stir  up  the  resentments  and  passions  of  another 
epoch,  they  would  break  to  pieces  on  common  sense. 
Prince  Albert  responded,  and  expressed  the  most 
friendly  sentiments  on  behalf  of  the  queen.  He  said 
she  was  happy  at  having  an  opportunity,  by  her  pres- 
ence at  Cherbourg,  of  joining  and  endeavoring  to 
strengthen  as  much  as  possible  the  bonds  of  friendship 
between  the  nations  —  a  friendship  based  on  mutual 
prosperity ;  and  the  blessing  of  Heaven  would  not  be 
denied.  He  concluded  by  proposing  a  toast  —  The 
emperor  and  empress." 

The  above  scene  is  the  one  we  propose  to  represent 
in  tableau  ;  and  to  give  a  good  effect  to  the  piece,  it  will 
be  necessary  to  have  thirty  persons.  The  number  can 
be  increased  if  there  is  sufficient  room.  The  four 
principal  characters  are  Queen  Victoria,  Prince  Albert, 
Louis  Napoleon,  and  the  Empress.  In  selecting  the 
persons  for  these  parts,  it  will  be  well  to  choose  those 
who  are  as  near  like  the  original  as  possible.  They 
should  be  persons  of  good  figure,  and  of  graceful  and 


QUEEN   VICTORIA   AT   CHERBOURG.  35 

easy  manners.  The  sailors  and  military  should  be  com- 
posed of  young  lads  ;  the  rest  of  the  performers  consist 
of  }rouug  ladies  and  gentlemen.  The  stage  should  be 
arranged  in  the  following  manner :  Two  tiers  of  seats 
should  be  arranged  in  a  curved  line  from  the  right  of  the 
stage,  at  the  front,  to  the  left  of  the  stage,  in  the  back- 
ground. The  front  seat  is  two  feet,  the  second  and  back 
tier  should  be  three  feet,  in  height,  with  a  wide  platform 
behind,  of  the  same  height,  capable  of  holding  twenty 
persons.  These  seats  should  be  covered  with  a  crimson 
cloth,  and  are  intended  to  be  occupied  by  Napoleon's 
suite.  In  the  centre  of  these  seats  should  be  placed  a 
platform  four  feet  square  and  two  feet  high ;  on  this 
place  the  throne  chairs,  and  build  a  flight  of  broad 
steps  in  front,  covered  with  crimson,  and  decorated 
with  gold.  The  throne  chairs  should  be  made  as 
showy  as  possible.  Common  office  chairs  can  be  easily 
made  to  answer  the  purpose  by  fastening  to  the  backs 
pieces  of  boards  one  foot  wide  and  four  feet  high,  and 
covering  the  fronts  and  top  of  the  arms  with  pieces  of 
board  four  inches  wide,  decorating  them  with  red  tur- 
key cloth,  and  bands  of  gold  paper.  Place  them  close 
together,  and  insert  a  board  decorated  in  the  same 
manner  between  the  two,  and  ornament  the  top  with  a 
canopy  of  Turkey  cloth,  trimmed  with  gold ;  on  the 
top  place  a  pointed  gilt  crown.  This  kind  of  throne 
can  be  easily  put  together,  and  will  be  easier  to  handle 
than  one  made  in  a  more  workmanlike  manner.  The 
emperor  and  empress  should  be  seated  in  the  chairs. 
The  platform  is  intended  for  the  military,  while  the 


36  THE    TABLEAU. 

seats  should  be  filled  with  dignitaries,  officers,  and 
ladies.  The  empress's  costume  consists  of  a  rich  bro- 
cade, heavily  ornamented  with  jewelry,  gold  or  silver 
lace,  and  any  other  decoration  that  will  be  appropriate, 
and  will  add  to  the  richness  of  the  costume.  A  small 
crown  should  adorn  the  head,  which  can  be  made  showy 
by  using  paste  pins  of  various  sizes.  The  emperor's 
costume  consists  of  a  blue  velvet  coat,  ornamented  with 
gold  epaulets,  and  trimmed  with  gold  fringe,  while  the 
right  breast  is  adorned  with  the  cross  of  the  legion 
of  honor.  The  breeches  are  of  blue  velvet,  trimmed 
with  silver  lace  and  knee  buckles ;  the  remainder  of 
the  costume  consists  of  military  top  boots,  silk  scarf  of 
blue  and  red,  side  arms  and  crown.  At  each  side  of 
the  throne  there  should  be  one  body  guard,  fine-looking 
gentlemen,  dressed  in  court  costume,  each  holding  a 
long  halberd.  The  rest  of  the  gentlemen  are  costumed 
in  court  dress  and  military  suits ;  the  ladies  in  as 
showy  and  rich  appearing  costume  as  can  be  procured. 
The  hair  should  be  arranged  to  suit  the  taste  of  the 
performers  ;  the  head  should  be  adorned  with  a  band 
of  gold,  with  a  colored  plume  in  front.  The  seats  are 
to  be  filled  entirely  with  the  ladies  and  gentlemen,  and 
a  few  should  stand  at  the  side  and  on  the  platform  ; 
careless  and  graceful  attitudes  should  be  taken,  and  all 
eyes  should  be  directed  to  the  left  of  the  stage,  where 
the  barge  is  expected  to  arrive.  The  soldiers  in  the 
background  should  be  formed  in  platoon,  and  in  such 
a  manner  that  all  will  be  visible.  The  muskets  should 
be  held  at  the  shoulder.  Each  should  be  furnished 


QUEEN   VICTORIA   AT   CHERBOURG.  37 

with  a  large  moustache,  and  should  look  directly  for- 
ward. The  performers  having  all  taken  their  positions, 
the  cannon  will  commence  firing  behind  the  scenes, 
and  the  curtain  will  rise  on  the  first  part  of  the  tab- 
leau ;  after  exhibiting  this  part  twice,  a  piece  of  can- 
vas, painted  to  represent  water,  should  be  spread  in 
front  of  the  throne,  while  the  rest  of  the  scenery  and 
performers  should  be  all  ready,  so  that  in  five  minutes 
after  the  first  scene,  the  second  should  appear.  The 
barge  should  be  made  five  feet  in  length,  or,  rather,  five 
feet  of  the  barge  should  be  seen ;  the  remaining  por- 
tion of  it  is  presumed  to  extend  behind  the  scenes.  It 
should  be  built  in  the  form  of  the  Venetian  boats,  with 
the  prow  running  up  a  foot  above  the  gunwale,  and 
turning  over  in  the  form  of  a  scroll.  The  barge  can 
be  framed  out  of  light  strips  of  wood,  and  covered  with 
canvas ;  the  exterior  should  be  painted  in  showy  colors ; 
the  scroll  can  be  covered  with  gold  paper ;  a  wreath  of 
flowers  should  be  painted  around  the  edge  of  the  gun- 
wale ;  cloth,  painted  to  represent  water,  should  be  fas- 
tened about  the  boat  near  the  water  line.  The  barge 
contains  four  sailors,  Prince  Albert,  and  Queen  Vic- 
toria. The  remainder  of  the  company  is  imagined  to 
be  in  the  stern  of  the  boat,  which  is  invisible.  The 
boat  should  be  placed  sideways  to  the  audience,  very 
near  to  the  side  wing,  with  the  bow  inclined  slightly 
towards  the  throne.  When  the  curtain  rises  on  the 
scene,  the  emperor  should  be  standing  at  the  foot  of 
the  throne,  about  to  assist  the  queen  from  the  bows  of 
the  barge.  The  queen  is  standing  with  hands  extended 
4 


38  THE   TABLEAU. 

to  receive  the  proffered  assistance  of  Napoleon.  Prince 
Albert  is  seated  directly  behind  the  queen,  holding  his 
chapeau  in  his  hand.  The  sailors  hold  their  oars  up 
in  the  air,  and  look  towards  the  audience.  The  queen's 
costume  consists  of  a  showy  brocade  dress,  ornamented 
with  a  mantle  in  imitation  of  ermine,  and  showy  jewelry  ; 
a  crown,  of  English  design,  adorns  the  head.  Prince 
Albert  is  costumed  in  a  scarlet  military  coat,  with 
heavy  and  rich  decorations,  gold  epaulets,  crimson  sash, 
buff  vest  and  breeches,  side  arms  and  chapeau.  Sail- 
ors' costume  consists  of  a  white  shirt,  with  blue  collar 
and  cuffs,  black  handkerchief  about  the  neck,  and  black 
tarpaulin.  While  the  curtain  is  up,  the  band  should 
play  "  God  save  the  Queen."  This  piece  requires  great 
quantity  of  light,  which  should  come  from  the  side 
where  the  barge  is  placed,  and  from  the  front. 


SCENE  FROM  THE  OPERA  OF  "SAPPHO." 

The  very  spot  where  Sappho  sung 
Her  swan-like  music,  ere  she  sprung 
(Still  holding,  in  that  fearful  leap, 
By  her  loved  lyre)  into  the  deep, 
And  dying,  quenched  the  fatal  fire, 
At  once,  of  both  her  heart  and  lyre. 

OPERA  OF  SAPPHO. 

Eleven  Female  and  Ten  Male  Figures. 

THIS  thrilling  tableau  is  a  representation  of  a  scene 
from  the  popular  opera  of  Sappho.  The  design  is  taken 
at  the  moment  when  Sappho  has  finished  her  first  song, 


SCENE   FROM   THE  OPERA   OF   SAPPHO.  39 

"  Morning  has  never  dawned,"  and  the  attendants  join 
in  the  chorus.  The  number  of  figures  in  the  piece  is 
twenty-one,  eleven  ladies  and  ten  gentlemen.  The 
scenery  in  the  background  and  at  the  sides  represent 
pillars  of  marble ;  these  can  be  cheaply  made  of  strips 
of  marble  paper,  with  a  cornice  running  around  the 
top  ;  in  the  centre  of  the  background  is  placed  a  plat- 
form two  feet  high  by  four  feet  square  ;  on  each  side  of 
this  are  pedestals  three  feet  high  by  one  and  a  half  feet 
square,  the  fronts  panelled  with  red  Turkey  cloth,  and 
bordered  with  gold  paper  ;  on  the  top  of  these  should 
be  placed  large  earthen  vases,  painted  to  represent 
bronze,  from  the  mouth  of  which  there  should  issue 
colored  flames.  From  the  right  and  left  sides  of  the 
platform  to  the  front  corners  of  the  stage  place  the 
chorus  singers.  The  ladies  stand  on  the  left  side  ; 
three  are  placed  on  a  platform  one  foot  high,  and 
standing  in  front  of  them,  at  equal  distances,  are  seven 
more.  The  gentlemen  on  the  other  side  are  arranged 
in  the  same  manner.  Sappho,  the  heroine  of  the  tab- 
leau, stands  on  the  platform  between  the  two  pedestals  ; 
the  left  hand  rests  on  the  top  of  one  of  the  pedestals, 
and  the  other  is  raised  up  at  arm's  length.  The  head 
is  thrown  back  slightly,  and  the  eyes  are  raised  up- 
ward. The  right  foot  is  placed  twenty  inches  in  ad- 
vance of  the  left,  the  body  facing  the  audience. 

Sappho's  costume  is  a  long,  white  robe,  cut  low  at 
the  top,  over  which  is  worn  a  short  half  skirt  of  white 
tarleton  muslin,  reaching  to  the  knee ;  sleeves  five 
inches  long,  trimmed  with  Grecian  border  ;  the  lower 


40  THE   TABLEAU. 

portion  of  both  of  the  skirts  trimmed  with  hlack  vel- 
vet two  inches  wide,  ornamented  with  gold  paper  and 
spangles  ;  a  wide  band  of  gold  is  placed  around  the 
top  of  the  dress,  and  covered  with  wide  white  lace.  '  A 
band  of  wide  black  velvet  ribbon,  ornamented  with 
showy  paste  pins,  encircles  the  waist,  and  a  wreath  of 
silver  leaves  adorns  the  head.  These  can  be  cut  from 
"silver  paper,  lined  with  cloth,  and  fastened  to  a  small 
wire.  The  hair  is  arranged  in  wide  braids  at  the  side 
of  the  head,  clasped  by  a  silver  band  at  the  back,  and 
allowed  to  hang  in  short  curls  in  the  neck. 

The  chorus  ladies  are  costumed  in  white  dresses, 
low-iiecked ;  sleeves  five  inches  long,  trimmed  with 
narrow  pink  ribbon,  a  bow  of  the  same  at  the  top  of 
the  sleeves,  fastened  to  the  dress  by  a  brilliant  glass 
pin  ;  over  the  skirt  of  the  dress  should  be  worn  a  half 
skirt  of  white  tarleton  muslin,  which  should  be  two  feet 
long  in  front,  and  three  behind  ;  this  is  belted  about 
the  waist  with  a  pink  ribbon,  and  trimmed  around  the 
bottom  with  oak  leaves.  The  hair  of  most  of  the  ladies 
should  be  arranged  in  curls,  which  should  be  confined, 
together  with  a  band  of  silver,  while  three  of  the  ladies 
must  allow  their  hair  to  fall  loosely  over  the  shoulders ; 
wreaths  of  artificial  flowers  should  adorn  the  heads  of 
all.  The  lady  who  stands  near  the  corner  of  the  stage 
at  the  front  should  have  in  her  left  hand  a  torch,  from 
which  issues  colored  flame,  while  the  right  hand  is 
raised  above  the  head,  the  right  foot  placed  twenty 
inches  before  the  left,  the  body  and  head  thrown  back, 
the  eyes  cast  upward,  and  excitement  should  be  ex- 


SCENE   FEOM   THE   OPERA    OF   SAPPHO.  41 

pressed  in  the  countenance.  (The  torch  can  be  made 
of  wood,  and  covered  with  silver  paper.)  Every  other 
lady  in  the  row  of  seven  should  hold  a  torch,  and  take 
similar  positions.  Those  standing  near  the  torch-bear- 
ers are  costumed  in  the  same  manner,  and  hold  small 
harps  in  the  left  hand,  while  the  right  touches  the 
strings.  The  body  and  head  are  thrown  back  slightly, 
and  the  eyes  cast  upward.  Those  performers  standing- 
near  the  platform  should  be  elevated  on  small  plat- 
forms of  various  heights,  so  as  to  be  distinctly  seen. 
On  the  platform  behind  the  seven  stand  three  other 
ladies,  at  equal  distances  from  the  front  corner  of  the 
stage  to  the  pedestals.  Their  costume  should  be  simi- 
lar to  the  others  ;  position  the  same,  while  the  hands 
are  clasped  in  front  of  the  bosom,  and  the  eyes  are 
directed  to  the  form  of  Sappho. 

The  ten  gentlemen  are  costumed  in  white  coats 
trimmed  around  the  bottom,  the  sleeves  and  collar 
with  black  cambric  two  inches  in  width,  and  orna- 
mented with  gold  ;  a  black  belt  of  the  same  material 
encircles  the  waist  ;  black  pants  or  breeches ;  white 
hose  reaching  to  the  knee,  and  fastened  with  a  silver 
band  and  buckle  ;  low  shoes,  with  a  blue  rosette  on  the 
front.  A  wide  white  mantle  trimmed  with  oak  leaves 
should  be  worn  across  the  breast,  the  ends  ornamented 
with  wide  yellow  cambric  fringe,  which  should  be  fas- 
tened at  the  side  with  a  blue  rosette,  and  trail  made 
nearly  long  enough  to  reach  the  floor.  The  head  is 
adorned  with  a  wide  band  of  velvet,  ornamented  with 
gold.  The  performers  should  be  furnished  with  long, 
4* 


42  THE   TABLEAU. 

full  beards,  which  can  be  made  of  hemp  or  horse-hair. 
The  arrangement  of  the  gentlemen  is  the  same  as  that 
of  the  ladies  —  seven  placed  on  a  line  from  the  pedes- 
tal to  the  corner  of  the  stage,  and  three  on  the  plat- 
form behind.  The  front  rank  have  the  golden  harps 
and  the  torches.  The  gentlemen  on  the  platform  clasp 
their  hands  in  the  same  manner  as  the  ladies  opposite. 
The  position  of  all  the  chorus  singers  is  such  that  a 
profile  view  is  had  of  their  features. 

The  front  lights  should  be  turned  down  quite  low  ; 
the  lights  at  the  side  where  the  -gentlemen  stand  should 
be  very  brilliant.  A  red  fire  should  be  thrown  on  the 
platform  and  the  figure  of  Sappho.  Music  should  bS 
quite  brilliant. 


FLORA  AND   THE   FAIRIES. 

She  haunts  the  spring  beneath  a  fairy's  guise, 
"With  unbound  golden  hair  and  azure  eyes  ; 
A  wreath  of  violets  in  each  dainty  hand, 
And  round  her  sunny  brow  an  emerald  band  ; 
While  all  day  long  she  strays  o'er  hill  and  glen, 
Through  leafy  bowers,  amid  the  homes  of  men  ; 
And  when  night  falls,  from  out  the  echoing  dells, 
The  lilies  ring  for  her  their  crystal  bells, 
And  in  the  forest's  depths  she  dreams  till  morn, 
Waked  by  the  music  of  the  wild  bee's  horn. 

LAIOHTOJT. 

Eight  Female  Figures. 

THIS  elegant  tableau  represents  Flora  seated  in  a 
beautiful  car  drawn  by  six  fairies.  The  car  is  easily 
made  of  wood  covered  with  paper  or  cloth,  and  deco- 


FLORA    AND   THE   FAIRIES.  43 

rated  with  flowers.  It  should  be  five  feet  long,  and 
made  in  the  form  of  a  scroll,  the  largest  part  of  which 
should  be  at  the  back  of  the  car.  Cover  the  centre  of 
the  scroll  which  forms  the  sides  with  crimson  paper  or 
cloth,  ornamented  with  a  border  of  gold  paper  three 
inches  wide,  and  a  second  border  of  artificial  flowers. 
Make  the  wheels  of  solid  pieces  of  wood  ;  the  front 
ones,  one  foot  in  diameter  ;  the  back  ones,  double  the 
size  ;  cover  them  with  crimson  cloth,  and  ornament 
them  with  large  gold  stars  ;  build  a  small  seat  at  the 
back  end,  and  extend  the  floor  of  the  car  one  foot  out 
from  the  back  part,  for  the  footman  to  stand  on.  The 
front  of  the  car  should  be  built  in  the  form  of  a  scroll, 
and  should  sustain  a  small  vase  of  flowers  on  the  top. 
Yases  of  similar  shape,  containing  flowers,  should  be 
placed  on  each  side  of  the  seat ;  a  long  rope,  covered 
with  crimson  cloth,  should  be  attached  to  the  front 
axletree.  As  only  one  side  of  the  car  is  visible,  it  will 
be  necessary  to  decorate  only  one  side.  A  platform 
one  foot  high  should  be  built  on  the  front  of  the  stage  ; 
a  second  one,  three  feet  from  the  first,  which  should  be 
two  feet  high  ;  a  third,  in  the  rear  of  the  second,  should 
be  three  feet  in  height.  These  must  be  covered  with 
green  booking,  to  represent  turf.  Place  the  car  near 
the  front  of  the  stage,  at  the  right  corner  ;  attach  six 
pieces  of  green  ribbon  to  the  crimson  rope,  for  the 
fairies  to  take  hold  of;  six  pink  ribbons  must  be  fas- 
tened to  the  waist  of  the  fairies,  and  held  by  Flora,  who. 
is  seated  in  the  car. 

The  young  lady  who  personates  Flora   should  be 


44  THE  TABLEAU. 

of  good  figure  and  features,  and  rather  small  form. 
Her  costume  consists  of  a  white  robe,  cut  low  at  the 
neck  ;  sleeves  five  inches  long,  trimmed  with  flowers  ; 
a  belt  of  green  cloth, -adorned  with  artificial  flowers, 
around  the  waist ;  a  crown,  made  in  like  manner, 
encircling  the  head  ;  a  small  bouquet  of  flowers  fas- 
tened to  the  front  of  the  waist.  The  hair  is  arranged 
in  short  curls  about  the  head  ;  a  side  view  is  had  of 
the  body,  while  the  head  is  turned  around  to  face  the 
audience.  The  hands  are  employed  in  holding  the 
pink  ribbons  and  whip,  which  is  made  of  a  long,  slen- 
der branch  of  the  willow,  with  a  few  leaves  on  the 
extreme  end.  The  countenance  expresses  pleasure  and 
animation. 

Seven  small  misses  personate  the  fairies,  and  their 
costume  consists  of  a  short  white  dress,  decorated  with 
silver  spangles.  Strips  of  blue  ribbon,  one  inch  wide, 
should  be  placed  around  the  skirt,  running  from  the 
waist  to  the  bottom  of  the  skirt ;  these  must  be  three 
inches  apart.  The  waist  is  made  of  blue  silk,  and 
trimmed  with  silver  paper  and  spangles.  The  hose  are 
flesh  color  ;  shoes,  white  satin  ;  the  head  is  encircled 
with  a  wreath  of  flowers ;  the  hair  should  be  arranged 
in  short  curls,  and  small  wings  formed  out  of  wire, 
covered  with  gauze,  and  ornamented  with  silver  span- 
gles, are  fastened  to  the  back  of  the  waist.  The  fairies 
should  stand  in  double  files,  one  couple  standing  on 
the  first  platform,  one  on  the  second,  and  one  on  the 
third  ;  they  should  be  three  feet  apart,  standing  in 
the  form  of  a  half  circle,  so  that  each  will  be  seen. 


THE   SPECTRE   BRIDE.  45 

One  hand  should  grasp  the  pink  ribbon,  while  the 
other  is  raised,  holding  a  small  bunch  of  flowers. 
The  fairy  footman's  costume  is  like  the  others,  and 
the  position  is  on  the  back  of  the  car,  both  hands 
upon  the  back  of  the  seat,  and  at  the  same  time  hold- 
ing the  ends  of  a  long  wreath,  which  arches  over  the 
head  of  Flora. 

The  light  should  come  from  the  side  of  the  stage 
where  the  fairies  stand,  where  should  be  burned  a 
small  quantity  of  the  whitish-blue  fire.  Music  lively. 


THE   SPECTRE   BRIDE. 

But,  soft  ;  behold  !  lo,  where  it  comes  again  ! 

I'll  cross  it,  though  it  blast  me.  —  Stay,  illusion  ! 

If  thou  hast  any  sound,  or  use  of  voice, 

Speak  to  me  : 

If  there  be  any  good  thing  to  be  done, 

That  may  to  thee  do  ease,  and  grace  to  me, 

Speak  to  me  ; 

If  thou  art  privy  to  thy  country's  fate, 

Which,  happily  foreknowing,  may  avoid, 

O,  speak  ! 

Or,  if  thou  hast  uphoarded  in  thy  life 

Extorted  treasures  in  the  womb  of  earth, 

For  which,  they  say,  you  spirits  oft  walk  in  death, 

Speak  of  it.    Stay  and  speak  ! 

SlIAKSPEARE. 

Twelve  Female  and  Twelve  Male  Figures. 

THIS  interesting  and  imposing  tableau  is  taken  from 
a  legend,  which  has  been  handed  down  from  genera- 
tion to  generation  among  the  villagers  living  in  the 
neighborhood  of  Glenburne  Castle,  England.  The 


46  THE    TABLEAU. 

story,  probably  as  authentic  as  many  which  are  often 
heard  of  in  those  districts,  is  as  follows  :  - 

Many  years  ago,  that  portion  of  the  country  where 
Glenburne  Castle  now  stands  was  owned  and  governed 
by  an  intriguing  and  overbearing  lord.  He  had  a  beau- 
tiful companion  for  a  wife,  who  loved  him  too  well ;  but 
his  affections  wandered  from  her.  He  looked  into  a 
brighter  eye,  and  on  a  fairer  brow.  His  wife  pined 
away,  lived  miserably  for  years,  and  died  at  last  broken- 
hearted. Six  months  had  passed,  and  great  prepara- 
tions were  being  made  in  the  old  castle  for  a  magnifi- 
cent wedding.  The  lords  and  nobles,  within  a  circuit 
of  five  hundred  miles,  were  invited  to  participate  in  the 
festivities  of  the  day.  The  halls  were  hung  with  beau- 
tiful tapestry  and  garlands  of  flowers,  and  the  castle 
resounded  with  strains  of  sweet  music,  "  and  all  went 
merry  as  a  marriage  bell."  But  this  finely-arranged 
entertainment  did  not  end  in  so  pleasant  a  manner  as 
was  intended.  The  hour  had  arrived  when  the  lord  of 
the  castle  was  about  to  lead  to  the  hymeneal  altar  the 
bright-eyed  lady  he  so  long  loved.  The  spacious  and 
magnificent  drawing  rooms  were  thronged  with  the 
wealthy  and  the  beautiful ;  all  were  attired  in  robes 
of  silk  and  satin,  and  costumes  of  velvet,  which  glis- 
tened with  pearls  and  precious  stones.  A  temporary 
platform  was  placed  at  one  end  of  the  hall,  on  which 
was  raised  a  crimson  and  gold  canopy.  On  the  plat- 
form were  to  be  seated  the  bride  and  bridegroom,  and 
the  grand  cardinal  who  was  to  perform  the  service. 
It  was  seven  o'clock  in  the  evening ;  the  guests  had 


THE   SPECTEE   BRIDE.  47 

all  arrived,  and  were  seated  around  the  room  awaiting 
the  entrance  of  the  lord  and  his  intended  bride.  Soon 
the  castle  resounded  with  the  sound  of  trumpets.  The 
massive  doors  opened  wide,  and  the  grand  cardinal, 
followed  by  the  bride  and  bridegroom,  entered  the 
apartment,  and  took  their  position  beneath  the  canopy. 
The  marriage  ceremony  had  been  partly  completed, 
when  all  were  suddenly  petrified  with  horror.  A  blu- 
ish flame  is  seen  rising  from  the  centre  of  the  floor, 
and  within  this  cloud  of  flame  the  spirit  form  of  the 
bridegroom's  first  wife  slowly  rises  up  through  the 
floor,  and  points  her  bony  fingers  to  the  horror- 
stricken  husband.  The  guests  and  attendants  rush 
from  the  castle,  and  hasten  to  their  homes.  The  in- 
tended bride  remained  insensible  for  many  hours,  and 
when  she  revived  she  was  no  more  herself.  The  fear- 
ful scene  had  crushed  out  forever  the  last  spark  of 
reason.  She  was  a  maniac.  The  lord  of  the  castle 
was  left  alone  with  his  spectre  bride,  but  not  long. 
Forsaken  by  every  one,  he  cared  not  for  life,  and  when 
death  came,  which  was  not  long  after  this  occurrence, 
he  welcomed  him  as  his  best  friend.  Years  have  passed, 
but  the  mysterious  story  still  hangs  over  the  spot ;  and 
at  certain  times  of  the  year,  it  is  said  the  apparition, 
surrounded  by  a  cloud  of  fire,  keeps  its  midnight  vigils 
among  the  time-worn  ruins. 

The  number  of  figures  required  to  represent  this 
tableau  is  twenty-four.  The  stage  scenery  is  arranged 
in  the  following  manner  :  In  one  corner  of  the  back- 
ground erect  a  platform  two  feet  high  by  four  feet 


48  THE    TABLEAU. 

square  ;  over  this  place  a  canopy  of  crimson  cloth, 
ornamented  with  gold  paper.  The  platform  should  be 
decorated  in  the  same  manner.  Red  shawls  or  table 
covers  will  answer  all  purposes.  Extending  from  each 
side  of  the  stage  to  the  platform,  there  should  be  two 
rows  of  seats  and  a  platform  behind  ;  the  first  row  of 
seats  is  to  be  eighteen  inches  high  ;  the  second  three 
feet  high,  with  a  platform  behind  two  feet  wide  ;  the 
platform  can  be  left  out  at  the  sides,  which  will  give 
more  space  in  the  centre  of  the  stage.  The  seats  and 
platforms  can  be  formed  of  boxes  and  boards  and 
covered  with  white  cloth.  Ten  ladies,  and  the 
same  number  of  gentlemen  are  to  occupy  the  seats, 
while  the  platform  is  reserved  for  the  bridal  party. 
A  trap  door,  two  and  a  half  feet  square,  should  be 
cut  out  of  the  floor  four  feet  from  the  front,  and 
at  equal  distances  from  each  side  of  the  stage.  This 
must  be  made  secure,  when  not  in  use,  by  the 
means  of  bolts.  The  machinery  for  raising  the  spec- 
tre is  arranged  in  the  following  manner :  Strong 
blocks,  such  as  are  used  on  board  of  ships,  should  be 
securely  fastened  beneath  the  stage,  at  the  four  cor- 
ners of  the  square  ;  ropes,  three  quarters  of  an  inch  in 
diameter,  should  be  passed  through  them,  and  one  end 
of  each  fastened  to  fifty-six  pound  weights  ;  the  other 
ends  of  the  ropes  are  to  be  fastened  to  rings  attached 
to  a  platform,  two  and  a  half  feet  square.  A  piece  of 
four  inch  joist  should  be  fastened  near  the  centre  of 
the  platform,  which  should  be  three  and  a  half  feet 
high  ;  small  handles,  two  feet  long,  should  also  be  fas- 


THE  SPECTRE  BRIDE.  49 

tened  securely  at  the  sides  of  the  platform,  on  which 
the  person  who  personates  the  spectre  will  stand. 
When  the  time  has  arrived  for  the  spectre  to  appear 
in  the  tableau,  two  persons  can  easily  guide  the  plat- 
form from  the  floor  to  the  stage  above.  All  the  gentle- 
men are  required  to  do,  is  to  guide  the  platform  ;  the 
heavy  weights  attached  to  the  ropes  will  draw  it  up. 
The  post  fastened  in  the  centre  is  intended  for  the  lady 
to  take  hold  of  to  keep  her  position  ;  it  should  be  cov- 
ered with  white  cloth,  and  hid  from  view  by  the 
drapery  of  the  costume  of  the  spectre.  The  lady  per- 
sonating the  spectre  should  take  her  position  on  the 
platform  in  the  same  manner  that  she  will  appear  on 
the  stage,  which  is  such  that  a  side  view  can  be  had 
of  the  figure,  the  right  hand  pointing  to  the  platform 
where  the  bridal  party  are  standing.  The  costume 
consists  of  a  long  white  dress,  worn  without  many 
skirts,  over  which  is  draped  a  robe  of  white  muslin ; 
a  long,  white  gauze  veil  should  be  loosely  tied  around 
the  head  ;  the  hair  is  allowed  to  hang  loosely  over  the 
shoulders.  The  face,  and  arms,  and  neck  must  be 
made  as  white  as  possible  by  the  use  of  pearl-powder. 
The  features  should  express  sternness. 

The  bridegroom  should  be  dressed  in  a  velvet  coat 
trimmed  with  gold  lace,  velvet  breeches,  white  vest, 
white  hose,  low  shoes,  knee  and  shoe  buckles,  ruffled 
bosom,  white  lace  collar.  The  bride  should  be  adorned 
in  a  showy  dress  of  rich  brocade  or  satin,  decorated 
with  jewels ;  mantle  of  ermine  worn  over  the  shoul- 
ders ;  the  hair  arranged  to  suit  the  taste  of  the  per- 
5 


50  THE    TABLEAU. 

former,  and  encircled  with  a  wreath  of  silver  leaves, 
while  a  heavy  white  veil  is  fastened  to  the  back  of 
the  head.  The  cardinal  should  have  on  a  long 
black  silk  surplice,  white  cravat,  and  a  mitre  hat  on 
the  head.  The  couple  face  the  audience,  the  cardinal 
standing  directly  behind  them  in  the  same  position, 
with  his  hands  raised  over  their  heads.  The  ladies, 
who  occupy  seats  at  each  side  of  the  platform,  should 
be  costumed  in  as  great  a  variety  and  as  richly  appear- 
ing dresses  as  can  be  procured ;  bands  of  gold,  orna- 
mented with  colored  plumes,  are  worn  on  the  head. 

Jewelry  of  all  kinds  should  be  worn  in  profusion. 
The  gentlemen  may  be  costumed  in  embroidered  and 
military  suits  of  various  colors  ;  white  hose,  knee  and 
shoe  buckles,  breeches  and  side  arms ;  each  being 
disguised  with  wigs  and  false  beards.  The  ladies  and 
gentlemen  should  be  intermingled,  those  in  the  fore- 
ground seated,  while  a  portion  of  the  others  are  in 
a  standing  position.  At  each  side  of  the  platform 
there  should  be  a  page,  holding  the  chapeau  and 
side  arms  of  the  bridegroom.  Their  costume  consists 
of  short  velvet  coat  trimmed  with  gold,  pink  breeches, 
white  hose,  white  shoes,  silver  shoe  and  knee  buckles, 
white  silk  scarf,  lace  collar  and  cuffs.  The  attention 
of  the  guests  and  attendants  should  be  directed  to  the 
group  on  the  platform,  the  expression  of  their  coun- 
tenances denoting  pleasure  and  interest.  This  consti- 
tutes the  first  scene,  and  ought  to  be  exhibited  three 
times  ;  after  which,  the  performers  will  take  positions 
for  the  second  scene. 


THE   SPECTRE   BRIDE.  51 

The  bride  should  be  reclining  insensible  on  the  arm 
of  the  bridegroom  ;  the  cardinal  is  about  seeking  safety 
in  flight ;  the  lord  looks  with  horror  on  the  spectre,  and 
throws  out  his  arm  as  if  he  thought  the  spectre  was 
about  to  grasp  him  ;  portions  of  the  guests  have  risen, 
and  are  about  to  take  flight ;  others  are  stupefied  with 
affright ;  hands  and  arms  are  thrown  up  in  fear  ;  con- 
sternation is  depicted  on  every  face.  "When  all  is  ready 
for  representation,  the  stage  manager  must  give  the 
signal  to  those  in  charge  of  the  curtain,  machinery 
below  the  stage,  and  colored  fires  at  the  same  moment, 
so  that  all  will  work  in  unison.  The  whitish-blue  fire 
should  be  burned  in  small  quantities  near  the  trap 
door  and  larger  quantities  of  the  same  in  the  ante- 
rooms, which  will  reflect  on  the  forms  of  the  per- 
formers. The  curtain  should  be  drawn  up  quite  fast, 
while  the  spectre,  starting  at  the  same  time,  should 
rise  very  slowly. 

The  lights  for  this  piece  should  be  opposite  the  plat- 
form, where  the  bridal  party  stand  ;  they  must  be  very 
brilliant,  and  as  many  as  can  be  procured.  The  music 
in  the  first  scene  should  be  of  a  lively  nature  ;  in  the 
second  scene,  of  a  mournful  style. 


52  THE   TABLEAU. 


MUSIC,  PAINTING,  AND   SCULPTURE. 

O,  there  is  nought  so  sweet 
As  lying  and  listening  music  from  the  hands, 
And  singing  from  the  lips,  of  one  we  love  — 
Lips  that  all  others  should  be  turned  to.    Then 
The  world  would  all  be  love  and  song  ;  heaven's  harps 
And  orbs  join  in  ;  the  whole  be  harmony  — 
Distinct,  yet  blended  —  blending  all  in  one 
Long,  delicious  tremble,  like  a  chord. 

FESTCS. 

The  finger  of  God  is  the  stamp  upon  them  all,  but  each  has  its  separate 

variety. 

Beauty,  theme  of  innocence,  how  may  guilt  discourse  thee  ? 
Let  holy  angels  sing  thy  praise,  for  man  hath  marred  thy  visage  ; 
Still,  the  maimed  torso  of  a  Theseus  can  gladden  taste  with  its  proportions.  . 
Though  sin  hath  shattered  every  limb,  how  comely  are  the  fragments ! 

TCPPEB. 

Three  Female  Figures. 

THIS  artistic  group  is  represented  by  three  beautiful 
females,  seated  on  a  mossy  bank,  each  one  holding  the 
emblems  of  her  profession.  The  goddess  of  music 
holds  a  harp,  on  which  she  is  playing ;  the  goddess  of 
painting  has  a  partially  painted  picture  in  the  left  hand, 
and  a  brush  and  pallet  in  the  right;  the  goddess  of 
sculpture  has  a  small  bust  in  her  right  hand  —  in  her 
left  she  holds  a  small  mallet  and  chisel.  Their  cos- 
tumes consist  of  a  loose  white  robe,  cut  quite  low  at 
the  top,  and  without  sleeves  ;  a  heavy  mantle  of  white 
muslin  is  draped  across  the  breast ;  the  hair  should 
hang  in  ringlets,  or  be  left  to  flow  negligently  on  the 
shoulders.  The  Goddess  of  Music  should  sit  on  the 
right  side  of  the  mound,  the  hand  resting  on  the 
knee,  her  eyes  cast  upward.  The  Goddess  of  Painting 


BUST   OP   PROSERPINE.  53 

sits  on  the  left  of  the  mound,  her  picture  resting  on  the 
left  knee,  the  right  hand  holding  the  pallet  and  brush, 
the  body  slightly  bent  forward,  the  eyes  fixed  on  the 
Goddess  of  Music.  The  Goddess  of  Sculpture  should 
sit  between  the  Goddesses  of  Music  and  Painting,  the 
bust  which  she  holds  resting  on  the  right  knee,  the  left 
hand  grasping  the  mallet  and  chisel.  Her  attention  is 
fixed  on  the  Goddess  of  Music.  The  mound  should  be 
placed  in  the  centre  of  the  stage  ;  it  can  be  made  of 
boxes,  and  covered  with  green  baize  ;  it  should  be  two 
feet  high,  and  four  or  five  feet  in  diameter.  The  light 
comes  from  the  right  side  of  the  stage,  and  should 
not  be  very  strong.  The  accompanying  music  should 
be  soft  and  plaintive. 


BUST  OF   PROSERPINE. 

One  Female  Figure. 

THIS  artistic  tableau  is  a  living  representation  of  the 
bust  of  Proserpine  by  Powers.  The  head  is  ideal,  and 
we  may  conceive  it  as  embodying  our  great  sculptor's 
conception  of  female  beauty  in  repose.  The  wreath  of 
leaves  and  flowers  which  encircles  it,  alludes,  perhaps 
remotely,  to  the  legend,  familiar  in  the  poets,  of  the 
field 

Of  Enna,  where  Proserpine,  gathering  flowers, 
Herself  a  fairer  flower,  by  gloomy  Dis 
"Was  gathered. 

5* 


54  THE   TABLEAU. 

The  learned  Germans,  who  regard  the  whole  Grecian 
mythology  as  personifying  natural  phenomena,  inter- 
pret the  legend  as  follows  :  Proserpine  who  is  car- 
ried off  to  the  lower  world  is  the  seed  corn,  that,  for  a 
time,  is  buried  in  the  ground.  Proserpine  who  returns 
to  her  mother  is  the  corn  which  rises  again  to  support 
mankind.  The  lady  who  takes  the  part  of  Proserpine 
should  be  quite  handsome,  with  fine,  regular  features,  a 
high  forehead,  and  a  good  form.  Her  dress  should  be 
pure  white,  and  cut  extremely  low  at  the  neck  ;  the  hair 
should  be  brushed  back  from  the  forehead,  done  up 
neatly  behind,  allowing  five  or  six  curls  to  hang  loosely 
in  the  neck,  and  a  braid  of  hair  should  be  worn  across 
the  front  of  the  head.  No  ornaments  of  any  kind 
should  be  worn. 

The  machinery  of  this  tableau  is  arranged  as  follows : 
The  revolving  beam  that  is  described  in  the  tableau  of 
the  Flower  Vase  is  to  be  used  in  this  piece.  The  beam 
is  placed  in  the  centre  of  the  stage,  on  the  top  of 
which  is  a  wooden  pedestal,  three  and  a  half  feet  high 
by  seventeen  inches  in  diameter  on  the  inside.  This 
pedestal  should  be  made  in  two  parts,  having  hinges, 
and  a  hook,  to  fasten  them  together.  It  must  have 
a  cap  and  base,  and  be  covered  with  white  cloth,  over 
which  fasten  white  tarleton  muslin.  The  bottom  of  it 
should  be  six  inches  in  thickness,  with  a  square  mor- 
tise in  the  centre,  to  allow  the  top  of  the  beam  to 
enter.  The  lady  who  personates  Proserpine  is  to  stand 
inside  of  this  pedestal,  and,  as  the  space  is  quite  small, 
it  will  be  necessary  to  wear  few  under  skirts.  A 


BUST  OF  PROSEBPINE.  55 

frame  should  be  manufactured  of  wire,  and  covered 
with  white  cloth  and  white  muslin,  and  should  be 
made  to  fit  the  back  and  breast  of  the  figure, 
allowing  room  for  the  arms  to  be  folded  inside  of  it. 
This  is  to  be  made  at  the  top  in  the  same  shape  as 
the  dress  worn  by  the  lady,  and  should  reach  to  the 
waist  of  the  person,  fitting  tightly,  and  from  the  waist 
be  made  to  flare  off  in  scroll  form  so  as  to  rest  on  the 
top  of  the  pedestal.  By  looking  at  a  bust,  one  will 
easily  understand  the  shape  of  the  frame.  It  must  be 
made  in  two  pieces,  and  fastened  at  the  sides  with  tape 
strings ;  around  the  top  of  the  frame  put  a  small  wreath 
of  white  leaves  and  flowers.  The  lady  must  take  her 
position  inside  of  the  pedestal  which  has  been  placed 
on  the  top  of  the  shaft ;  hook  it  firmly  together,  and 
pack  cloth  between  the  lady  and  the  inside  of  the 
pedestal,  for  the  purpose  of  keeping  the  body  from 
moving  from  one  side  to  the  other.  Then  place  the 
front  and  back  wire  frames  in  their  position,  and 
fasten  them  firmly.  See  that  the  arms  are  folded  out 
of  sight,  and  the  hair  arranged  properly.  The  eyes 
should  be  cast  upward  slightly,  and  when  once  fixed 
in  position,  they  should  not  be  moved.  The  face  and 
neck  should  be  made  as  white  as  possible ;  the  ex- 
pression of  the  countenance  calm  and  serene.  The 
fairies  and  the  crimson  curtain  used  in  the  tableau  of 
the  Dancing  Girl  can  be  used  in  this  piece.  A  side 
view  should  be  given  of  the  statue  before  it  revolves. 
In  the  second  view,  the  pedestal  must  slowly  revolve, 
while  a  plaintive  air  is  played  on  the  melodeon.  This 


56  THE    TABLEAU. 

tableau  has  been   admired   by  many,  and  will  repay 
any  one  for  the  trouble  of  producing  it. 


NAPOLEON  AND  HIS  OLD  GUARD  AT  WATERLOO. 

Last  noon  beheld  them  full  of  lusty  life  ; 

Last  eve  in  beauty's  circle  proudly  gay ; 
The  midnight  brought  the  signal  sound  of  strife  ; 

The  morn,  the  marshalling  in  arms  ;  the  day, 
Battle's  magnificently  stern  array ! 

The  thunder  clouds  closed  o'er  it,  which,  when  rent, 
The  earth  is  covered  thick  with  other  clay, 

"Which  her  own  clay  shall  cover,  heaped  and  pent, 
Rider  and  horse  —  friend,  foe  —  in  one  red  burial  blent. 

BYBON. 

Forty  Male  Figures. 

THE  battle  of  Waterloo  was  fought  on  the  18th  of 
June,  1815.  It  was  on  the  Sabbath  day.  The  Em- 
peror's wasted  bands  were  now  in  the  extreme  of 
exhaustion.  For  eight  hours,  every  physical  energy 
had  been  tasked  to  its  utmost  endurance,  by  such  a 
conflict  as  the  world  had  seldom  seen  before.  Twenty 
thousand  of  his  soldiers  were  either  bleeding  upon  the 
ground  or  motionless  in  death.  Every  thing  depended 
now  upon  one  desperate  charge  by  the  Old  Guard. 
The  Emperor  placed  himself  at  the  head  of  this  de- 
voted and  invincible  band,  and  advanced  in  front  of 
the  British  lines.  Silently,  sternly,  unflinchingly  they 
pressed  on,  till  they  arrived  within  a  few  yards  of  the 
batteries  of  the  enemy.  A  peal,  as  of  crushing  thun- 


NAPOLEON  AND  HIS  OLD  GUARD  AT  WATERLOO.   57 

der,  burst  upon  the  plain  ;  a  tempest  of  bullets,  shot, 
shells,  and  all  the  horrible  missiles  of  war,  fell  like 
hailstones  upon  the  living  mass.  A  gust  of  wind 
swept  away  the  smoke,  and,  as  the  anxious  eye  of 
Napoleon  pierced  the  tumult  of  the  battle  to  find 
his  Guard,  it  had  disappeared.  Napoleon  threw  him- 
self into  a  small  square  which  he  had  kept  as  a 
reserve,  and  urged  it  forward  into  the  densest  throngs 
of  the  enemy.  He  was  resolved  to  perish  with  his 
Guard.  Cambronne,  its  brave  commander,  seized  the 
reins  of  the  Emperor's  horse,  and  said  to  him,  in  be- 
seeching tones,  "  Sire,  death  shuns  you  ;  you  will  but 
be  made  a  prisoner."  Napoleon  shook  his  head,  and 
for  a  moment  resisted ;  but  his  better  judgment  told 
him  that  thus  to  throw  away  his  life  would  be  but 
an  act  of  suicide.  With  tearful  eyes,  he  bowed  to 
those  heroes  who  proved  faithful  even  to  death ; 
with  a  melancholy  cry,  they  shouted,  "  Vive  VEm- 
pereur  !  "  These  were  their  last  words  —  their  dying 
farewell.  Silent  and  sorrowful,  Napoleon  put  spurs  to 
his  horse,  and  disappeared  from  the  field.  This  one 
square,  of  two  battalions,  alone  covered  the  flight  of 
the  army.  Squadrons  of  cavalry  plunged  upon  them, 
and  still  they  remained  unbroken.  The  flying  artil- 
lery was  brought  up,  and  pitilessly  pierced  this  heroic 
band  with  a  storm  of  cannon  ball.  The  invincible 
square,  the  last  fragment  of  the  Old  Guard,  revered 
by  that  soul  which  its  imperial  creator  breathed  into 
it,  calmly  closed  up  as  death  thinned  its  ranks.  The 
English  and  Prussians  sent  a  flag  of  truce,  demand- 


58  THE   TABLEAU. 

ing  a  capitulation.  General  Cambronne  returned  the 
immortal  reply,  "  The  Guard  dies,  but  never  sur- 
renders ! "  A  few  more  discharges  of  grape  shot 
from  the  artillery  mowed  them  all  down.  Thus  per- 
ished, on  the  field  of  Waterloo,  the  Old  Guard  of 
Napoleon. 

Directions  for  forming  the  Tableau. — This  splen- 
did battle-scene  contains  forty  figures.  It  can  be 
produced  with  a  less  number,  but  to  give  a  good 
effect,  it  should  contain  forty  persons.  The  scene 
occurs  at  the  time  when  Napoleon  has  thrown  himself 
in  the  square  of  the  Guard,  and  is  about  to  press  for- 
ward to  the  enemy.  Napoleon  is  seated  on  his  white 
horse,  in  the  centre  of  the  stage ;  we  have  a  side 
view  of  the  horse,  and  almost  a  front  view  of  Napo- 
leon, who  grasps  the  reins  with  his  left  hand,  and 
his  sword  with  the  right ;  his  eyes  are  fixed  on  the 
advancing  troops  in  the  distance ;  his  countenance 
expresses  firmness  and  anxiety.  Cambronne  is  on 
"the  point  of  advancing,  with  hands  stretched  out, 
about  to  grasp  the  reins  of  Napoleon's  horse ;  his 
position  is  sideways  to  the  audience.  Marshal  Ney 
is  seen  running  towards  Napoleon,  on  the  other  side 
of  the  picture,  his  right  hand  extended,  his  chapeau 
grasped  with  the  left.  In  the  foreground  are  four 
wounded  soldiers,  lying  in  various  positions ;  mus- 
kets and  other  implements  of  war  are  scattered  over 
the  ground.  Directly  behind  Napoleon  is  seen  an 
officer  holding  the  French  standard,  with  a  gilt 
eagle  at  the  top.  The  Old  Guard  are  formed  in 


NAPOLEON  AND  HIS  OLD  GUARD  AT  WATERLOO.    59 

platoons,  one  at  the  right,  one  at  the  left,  and  one 
in  the  background;  they  should  form  with  the  face 
outward,  and  hold  their  muskets  as  if  about  to  repel 
a  charge  of  cavalry.  The  rear  platoon  should  stand 
on  a  platform  two  feet  in  height,  while  the  space 
behind  is  to  be  filled  with  soldiers  engaged  in  fen- 
cing. They  should  be  placed  on  raised  platforms, 
varying  from  two  to  eight  feet  in  height.  The  cos- 
tume of  Napoleon  consists  of  a  blue  dress  coat  with 
a  buff  breast,  eagle  buttons,  buff  vest  and  knee 
breeches,  top  boots,  spurs,  sash,  side  arms,  black 
chapeau,  and  gray  overcoat.  The  horse  which  Na- 
poleon rides  can  be  made  of  wood,  at  a  trifling  ex- 
pense. Minute  explanation  in  regard  to  its  con- 
struction will  be  found  in  the  tableau  of  "  Washing- 
ton's entrance  into  Portsmouth."  The  costume  of 
the  officers  consists  of  as  rich  military  suits  as  can  be 
procured.  The  soldiers  should  wear  a  showy  military 
suit  and  bearskin  hats.  The  muskets  must  be  fur- 
nished with  bayonets,  and  a  thin  smoke  should  be 
made  to  float  over  the  scene.  The  roll  of  the  tenor 
drum,  the  shrill  music  of  the  fife,  the  rattle  of  mus- 
ketry, and  the  booming  of  cannon,  should  be  heard 
in  the  distance.  A  red  light  must  be  thrown  upon 
all  the  figures;  if  this  is  not  sufficient  to  light  up 
the  piece,  the  foot-lights  fronting  Napoleon  can  be 
lighted.  The  person  who  takes  the  part  of  Napoleon 
must  resemble,  in  features  and  form,  the  original 
character. 


60  THE   TABLEAU. 


THE   DANCING   GIRL  IN   REPOSE. 

Bid  me  discourse ;  I  will  enchant  thine  ear, 

Or,  like  a  fairy,  trip  upon  the  green, 
Or,  like  a  nymph,  with  long  dishevelled  hair, 

Dance  on  the  sands,  and  yet  no  footing  seen. 

SHAKSPKARB. 

Three   Female  Figures. 

THIS  pleasing  tableau  represents  a  young  and  beau- 
tiful dancing  girl  reposing  after  one  of  her  successful 
and  fascinating  dances.  The  scenery  should  be  ar- 
ranged in  the  following  manner :  A  curtain  of  red  Tur- 
key cloth  or  cambric,  fringed  with  gold,  which  can  be 
made  by  cutting  strips  of  buff  cloth  to  imitate  fringe, 
and  decorating  it  with  gold  paper ;  this,  in  the 
evening,  will  make  quite  a  rich  appearance.  The  cur- 
tain should  be  but  two  feet  long  in  the  centre,  cut  in 
three  festoons,  each  three  feet  wide.  At  the  ends  of 
the  festoons,  the  curtains  must  be  wide  enough  to  fill 
out  the  space  at  the  side  of  the  stage,  and  so  long  that 
they  will  trail  on  the  floor.  This  curtain  should  be 
attached  to  a  strip  of  wood,  which  can  be  fastened  in 
position  on  the  ceiling.  On  each  side  of  the  stage, 
near  the  centre,  place  small  pedestals,  one  and  a 
half  feet  square,  covered  with  green  cambric,  and 
decorated  with  bouquets  of  artificial  or  painted  flow- 
ers. In  the  centre  of  the  stage,  directly  under  the 
curtain,  place  a  pedestal  two  feet  square,  with  a  shaft 
at  the  side  three  feet  high  by  six  inches  in  diam- 
eter; this  must  be  covered  with  light  green  cam- 


THE  DANCING  GIRL  IN  REPOSE.  61 

brie,  and  festooned  with  wreaths  of  flowers.  The 
number  of  figures  in  this  piece  are  three :  one  alone 
takes  a  prominent  part ;  the  remaining  two  are  in- 
tended as  an  addition  to  the  scenery.  The  two  small 
pedestals  are  to  be  occupied  by  pretty  little  misses,  of 
about  six  years  of  age,  dressed  to  represent  fairies. 
Their  costume  consists  of  short  white  dresses  covered 
with  bands  of  gold  and  spangles ;  white  hose  and  slip- 
pers ;  a  pink  gauze  sash,  decorated  with  gold  spangles, 
worn  across  the  shoulders ;  the  hair  arranged  in  ring- 
lets ;  wings  formed  of  wire,  covered  with  white  muslin, 
and  decorated  with  spangles,  and  fastened  to  the 
shoulders.  The  costume  of  the  dancing  girl  consists 
of  a  white  dress  reaching  to  the  knees,  covered  with 
white  tarleton  muslin,  and  ornamented  on  the  front 
with  a  small  bouquet,  and  bands  of  crimson  ribbon 
running  around  the  skirt.  The  waist  should  be  low  on 
the  bosom,  the  sleeves  quite  short,  and  trimmed  with 
flowers ;  the  hair  can  be  dressed  to  suit  the  taste  of 
the  performer.  Flesh-colored  hose  and  white  slippers 
should  be  worn.  The  position  of  the  dancing  girl  is 
on  the  centre  of  the  pedestal,  in  a  careless  attitude. 
One  arm  hangs  negligently  at  her  side,  the  hand 
grasping  a  tambourine  ;  the  other  rests  on  the  top  of 
the  shaft.  The  weight  of  the  body  rests  on  the  right 
foot ;  the  left  foot  crosses  the  right.  The  eyes  should 
be  cast  down  to  the  floor,  and  the  expression  of  the 
face  sad  and  thoughtful.  The  fairies  stand  on  the 
small  pedestals  at  the  sides  of  the  stage.  We  have  a 
side  view  of  them  as  they  stoop  forward  and  clasp  the 
6 


62  THE   TABLEAU. 

folds  of  the  curtain.  The  right  hand  is  extended,  the 
forefinger  pointing  at  the  dancing  girl.  The  weight 
of  the  body  should  mostly  rest  on  the  right  foot  ;  the 
left  is  extended  behind,  the  toe  touching  the  top  of  the 
pedestal.  The  head  slightly  turned  towards  the  audi- 
ence ;  the  expression  of  the  countenance  quite  brilliant. 
The  lights  should  be  at  the  left  side  of  the  stage,  and 
of  medium  quantity.  A  waltz  or  polka  can  be  played 
while  the  tableau  is  exhibited. 


WASHINGTON'S  ENTRANCE  INTO  PORTSMOUTH. 

Behold,  he  comes  !  Columbia's  pride, 
And  nature's  boast  —  her  favorite  son  ; 

Of  valor,  wisdom,  truth,  well  tried  — 
Hail,  matchless  Washington. 

Let  old  and  young,  let  rich  and  poor, 

Their  voices  raise,  to  sing  his  praise, 
And  bid  him  welcome,  o'er  and  o'er. 

This,  this  is  he,  by  Heaven  designed, 
The  pride  and  wonder  of  mankind. 
"United  then  your  voices  raise, 
And  all  united  sing  his  praise. 

Let  strains  harmonious  rend  the  air  ; 
For  see,  the  godlike  hero's  here  ! 
Thrice  hail,  Columbia's  favorite  son  ; 
Thrice  welcome,  matchless  Washington. 

J.  M.  SEWALL. 
/ 

Ten  Female  and  Thirty-two  Male  Figures. 

"Saturday,  31st  Oct. 

"  LEFT  Newburyport  a  little  after  eight  o'clock,  (first 
breakfasting  with  Mr.  Dalton,)  and  to  avoid  a  wider 
ferry,  more  inconvenient  boats,  and  a  piece  of  heavy 


WASHINGTON'S  ENTRANCE  INTO  PORTSMOUTH.       63 

sand,  we  crossed  the  river  at  Salisbury,  two  miles  above, 
and  in  three  miles  came  to  the  line  which  divides  the 
State  of  Massachusetts  from  that  of  New  Hampshire. 
Here  I  took  leave  of  Mr.  Dalton  and  many  other  pri- 
vate gentlemen,  also  of  General  Titcomb,  who  had 
met  me  on  the  line  between  Middlesex  and  Essex 
counties,  corps  of  light  horse,  and  many  officers  of 
militia,  and  was  received  by  the  president  of  the  State 
of  New  Hampshire,  the  vice  president,  some  of  the 
council,  Messrs.  Langdon  and  Wingate  of  the  Senate, 
Colonel  Parker,  marshal  of  the  state,  and  many  other 
respectable  characters,  besides  several  troops  of  well- 
clothed  horse,  in  handsome  uniforms,  and  many  officers 
of  the  militia,  also  in  handsome  white  and  red  uni- 
forms of  the  manufacture  of  the  state.  With  this 
cavalcade  we  proceeded,  and  arrived  before  three 
o'clock  at  Portsmouth,  New  Hampshire,  where  we 
were  received  with  every  token  of  respect  and  ap- 
pearance of  cordiality,  under  a  discharge  of  artillery. 
The  streets,  doors,  and  windows  were  thronged  with 
the  populace.  Alighting  at  the  town  house,  odes  were 
sung  and  played  in  honor  of  the  president."  —  Wash- 
ing-ton's Private  Diary. 

"  A  visit  from  a  person  so  distinguished  and  beloved, 
had  he  come  without  the  insignia  of  office,  would  have 
created  no  little  enthusiasm ;  but  a  visit  from  its  pres- 
ident, when  the  young  republic  had  been  organized 
scarcely  half  a  year,  occasioned  to  the  community  a 
thrill  of  ecstasy  which  vibrated  through  every  heart  — 
an  outburst  of  joy  due  from  a  grateful  populace  to  one 


64  THE   TABLEAU. 

to  whose  skill  and  superior  virtues  they  owed  their 
happiness.  There  was  a  mixture  of  novelty,  of  joy,  of 
patriotic  enthusiasm,  felt  by  every  heart.  A  committee 
of  twelve  was  appointed  in  town-meeting  to  superin- 
tend the  reception.  The  president  left  his  carriage  at 
Greenland,  at  the  residence  of  Colonel  Tobias  Lear, 
and  mounted  his  favorite  white  horse ;  he  was  there 
met  by  Colonel  Wentworth's  troop,  and  on  Portsmouth 
plains  the  president  was  saluted  by  Major  General 
Cilly,  and  other  officers  in  attendance.  From  the 
west  end  of  the  State  House,  on  both  sid"es  of  Congress 
Street,  and  into  Middle  Street,  the  citizens  and  military 
were  arranged  in  lines,  and  on  the  east  side  of  the 
parade  ground  were  the  children  of  the  schools,  dressed 
appropriately  for  the  occasion.  The  president  at  the 
entrance  received  a  federal  salute  from  the  three  com- 
panies of  artillery  under  Colonel  Hackett.  The  streets 
through  which  he  passed  were  lined  with  citizens ;  the 
bells  rang  a  joyful  peal,  and  repeated  shouts  from 
grateful  thousands  hailed  him  welcome  to  the  metrop- 
olis of  New  Hampshire."  —  Brewster's  Rambles. 

This  national  tableau  contains  forty-two  figures: 
Washington,  sixteen  soldiers,  ten  young  ladies,  six  cit- 
izens, and  nine  school  children.  The  number  can  be 
made  less  if  there  is  not  sufficient  room  on  the  stage. 
The  stage  scenery  consists  of  the  following  articles :  A 
fac-simile  of  the  white  horse,  which  is  to  be  made  in 
the  following  manner :  With  a  tape  measure  and  rule 
take  the  dimensions  of  a  small-sized  horse ;  let  your 
carpenter  make  a  skeleton  horse  according  to  your 


WASHINGTON'S  ENTRANCE  INTO  PORTSMOUTH.       65 

dimensions,  of  wood,  as  strong  and  light  as  pos- 
sible ;  then  take  curled  hair  or  hay  and  fill  out  the 
frame  so  that  it  will  look  symmetrical,  using  twine 
to  bind  on  the  material  used.  It  will  be  a  good 
plan  to  have  an  engraving  of  a  horse  to  look  at,  so  that 
you  will  more  easily  arrive  at  the  proportions  of  the 
body.  The  right  foot  of  the  horse  must  be  raised. 
After  you  have  satisfied  yourself  in  regard  to  the  form 
of  the  animal,  take  cheap  cotton  cloth  and  sew  over  all 
parts  of  his  body.  Cover  this  with  three  coats  of  white 
paint,  and  sprinkle  slightly  with  black.  The  eyes 
can  be  imitated  by  using  the  bottom  of  a  small  black 
glass  bottle ;  the  ears  should  be  made  of  leather ;  the 
mouth  and  nostrils  can  be  painted ;  make  the  mane 
and  tail  of  flax  or  hemp.  Insert  the  feet  into  a  heavy 
plank,  and  decorate  him  with  a  showy  military  saddle 
and  bridle.  A  triumphal  arch,  made  in  three  parts,  of 
wood,  covered  with  green  cambric,  and  decorated  with 
flowers,  will  also  be  wanted. 

Washington's  costume  consists  of  a  black  velvet  con- 
tinental coat,  buff  vest,  white  hose,  shoes,  knee  and 
shoe  buckles,  white  cravat,  ruffled  bosom,  black  cha- 
peau,  sash,  epaulets,  side  arms,  and  white  wig.  The 
military  are  dressed  in  blue  coats  trimmed  with  buff, 
white  pants,  chapeau,  cross  and  waist  belts,  swords  and 
muskets ;  officers  in  as  showy  uniforms  as  can  be  pro- 
cured. The  ladies  should  be  of  various  sizes,  and  cos- 
tumed in  white  dress,  red  sash,  and  wreaths  of  myrtle 
on  the  head ;  each  should  hold  a  garland,  bouquet,  or 
small  basket  of  flowers.  Citizens'  costume  consists  of 
6* 


66  THE   TABLEAU. 

black  coat  and  breeches,  light  vest,  chapeau,  white  hose, 
shoe  and  knee  buckles ;  children  in  dark  jackets,  white 
pants,  dark  caps,  with  a  wreath  of  evergreen  worn  over 
the  shoulders.  "Washington  is  seated  on  his  horse,  the 
left  hand  grasping  the  reins  and  whip,  while  the  right 
holds  his  chapeau.  He  leans  forward  slightly,  and  is  look- 
ing to  the  ladies,  who  are  strewing  his  path  with  flowers. 
His  face  is  lighted  with  smiles  of  pleasure  as  he  beholds 
the  crowds  of  delighted  people  who  are  seen  on  every 
side.  On  each  side  of  the  horse,  and  in  the  fore- 
ground, the  young  ladies  are  placed.  They  are  in 
kneeling  positions,  and  extend  their  flowers  towards 
Washington ;  their  faces  are  turned  upward,  and  are 
suffused  with  smiles.  The  military  are  placed  on  the 
extreme  right  and  left  of  the  stage,  the  head  of  each 
platoon  commencing  at  the  front  of  the  stage,  and  ex- 
tending into  the  background.  As  they  recede  in  the 
distance  they  must  have  a  higher  position,  so  that  every 
one  will  be  seen.  They  should  turn  the  head  a  trifle 
towards  the  audience,  and  present  arms.  The  cit- 
izens, placed  on  raised  platforms,  take  positions  behind 
the  horse.  They  hold  their  hats  in  the  left  hand, 
and  look  at  Washington.  ,  The  children  stand  in  a  line 
in  the  background  of  the  picture.  They  must  be 
placed  on  high  platforms,  so  that  they  may  be  seen 
distinctly.  They  look  straight  forward,  with  the  right 
hand  placed  at  the  side  of  the  cap.  The  triumphal  arch 
is  to  be  erected  directly  over  the  head  of  Washington  ; 
it  should  not  be  very  heavy,  as  it  is  necessary  to  have 
as  much  of  the  space  occupied  by  the  characters  as  is 


FAME.  67 

possible.  The  horse  and  arch  must  be  first  brought  on 
the  stage,  then  the  military,  next  Washington,  and  the 
ladies,  then  the  children  and  citizens  will  take  their 
positions.  All  the  light  that  can  be  produced  in 
front,  and  facing  Washington,  must  be  used.  The 
booming  of  cannon,  ringing  of  bells,  and  the  loud 
hurrah  of  the  populace  should  be  heard  in  the 
distance.  "Hail  Columbia"  would  be  the  appropri- 
ate music  for  the  piano-forte  or  melodeon. 


FAME. 

Blow  the  trumpet,  spread  the  wing,  fling  thy  scroll  upon  the  sky  ; 
Rouse  the  slumbering  world,  O  Fame,  and  fill  the  sphere  with  echo.  — 
Beneath  thy  blast  they  wake,  and  murmurs  come  hoarsely  on  the  wind, 
And  flashing  eyes  and  bristling  hands  proclaim  they  hear  thy  message  : 
Rolling  and  surging  as  a  sea,  that  upturned  flood  of  faces 
Hasteneth  with  its  million  tongues  to  spread  the  wondrous  tale. 

TCFPER. 

Three  Female   and   Nine   Male   Figures. 

THIS  tableau  is  represented  by  twelve  persons,  three 
ladies  and  nine  gentlemen.  They  are  arranged  and 
costumed  in  the  following  manner:  Standing  on  a 
pedestal  six  feet  high,  in  the  centre  of  the  stage,  is  a 
female  who  personates  the  Goddess  of  Fame.  Her 
costume  consists  of  a  loose  white  dress,  cut  low  at  the 
top,  hair  done  up  neatly  and  encircled  with  a  wreath 
of  white  flowers  ;  at  her  side,  on  a  small  pedestal,  is  a 
plaster  bust  of  Shakspeare,  which  the  goddess  is  about 
crowning  with  a  wreath  of  myrtle.  At  each  side  of 


68  THE   TABLEAU. 

the  large  pedestal  are  two  others,  which  are  two  feet 
square  and  three  feet  high ;  on  each  of  these  stands  a 
female  figure,  dressed  in  a  loose  white  robe,  cut  low  at 
the  top,  the  hair  flowing  loosely  over  the  shoulder,  the 
head  encircled  with  a  wreath  of  white  flowers.  Each 
holds  in  the  right  hand  a  long,  slender  trumpet,  which 
she  is  in  the  act  of  blowing ;  the  trumpets  are  pointed 
horizontally  to  the  right  and  left ;  they  are  three  feet 
long,  with  a  bell,  five  inches  in  diameter,  at  the  end. 
These  can  be  made  of  card-board,  and  covered  with 
silver  paper.  In  front  of  the  highest  pedestal  there 
should  be  placed  a  platform  six  feet  long,  four  feet 
wide,  and  one  foot  high.  On  this,  a  second  plat- 
form, five  feet  long,  two  feet  wide,  and  one  foot  high. 
Cover  them  with  white  cloth.  Kneeling  on  the  front 
of  the  large  platform  are  four  young  men.  The  first 
one  represents  a  sculptor.  He  kneels,  facing  the  au- 
dience, and  holds  a  mallet  and  chisel  in  his  left  hand. 
The  second  figure  represents  the  mechanic,  with  his 
square  and  level.  The  third  represents  the  musician, 
with  his  harp.  The  fourth  personates  the  painter,  with 
his  pallet  and  brushes.  Kneeling  behind  them,  on  the 
small  platform,  are  three  other  figures.  The  first  is 
the  poet,  with  his  roll  of  songs  and  pen ;  the  second  is 
the  soldier,  with  his  sword  ;  and  the  third  is  the  his- 
torian, with  a  volume  of  history  and  a  pen.  Behind 
these,  and  fronting  the  goddess,  stands  a  figure  who 
represents  the  orator.  His  costume  consists  of  a  suit 
of  black.  He  holds  a  scroll  in  his  left  hand  ;  his 
right  raised  in  front ;  countenance  expressing  stern- 


FAME.  69 

ness ;  eyes  slightly  raised  upwards.  The  soldier  kneels 
between  the  poet  and  the  historian  ;  costume  consists 
of  a  rich  military  dress ;  arms  are  folded  across  the 
breast,  head  turned  slightly  to  the  right,  eyes  cast 
upward,  the  face  expressing  firmness.  The  poet  is 
costumed  in  a  dark  coat,  light  vest,  knee  breeches, 
white  hose,  low  shoes,  knee  and  shoe  buckles,  lace 
collar  and  wristbands.  Position  is  facing  the  front 
corner  of  the  stage.  Eyes  are  fixed  on  the  paper 
before  him;  face  expresses  pleasure.  On  the  other 
side  of  the  soldier  kneels  the  historian.  His  cos- 
tume, position,  and  expression  of  countenance,  the 
same  as  the  poet.  The  sculptor  kneels  on  the  low 
platform.  He  faces  the  corner  of  the  stage,  and 
casts  his  eyes  upward.  Costume  consists  of  a  dark 
coat,  white  vest,  dark  breeches,  white  hose,  shoe  and 
knee  buckles,  a  low,  flat  cap  set  jantily  on  one  side 
of  .the  head,  and  a  velvet  cape  thrown  over  the  left 
shoulder.  The  painter  kneels  on  the  other  end  of 
the  platform,  and  faces  the  right  front  corner  of  the 
stage.  Costume,  position,  and  expression,  the  same  as 
the  sculptor.  Between  these  two,  kneel  the  mechanic 
and  musician.  The  former  looks  straight  forward. 
Costume  consists  of  dark  coat,  light  vest,  dark  breeches 
and  hose,  low  shoes,  knee  and  shoe  buckles.  The  mu- 
sician takes  a  similar  position,  and  holds  a  harp,  on 
which  he  is  about  to  play.  His  head  is  thrown  back, 
and  his  eyes  are  raised  upward.  Costume  consists  of 
a  dark  coat  and  breeches,  bright-colored  vest,  black 
hose,  low  shoes,  knee  and  shoe  buckles.  Expression 


70  THE    TABLEAU. 

of  the  face,  pleasant.  The  light  must  be  of  medium 
quantity,  and  come  from  the  right  hand  side.  Those 
lights  near  the  front  should  be  stronger  than  the  others. 
Music  soft  and  plaintive. 


FAITH. 

[SEE  PLATE] 

High  on  the  mountain's  towering  head, 

While  darkness  rules  the  sky, 
Faith  stands,  and  through  the  stormy  cloud 

Directs  her  anxious  eye. 
Amidst  the  gloom,  the  welcome  rays 

With  cheering  lustre  shine, 
And  open  to  her  ardent  gaze 

A  world  of  bliss  divine. 

J.  FlBIEZE. 

Seven  Female  Figures. 

THIS  beautiful  statuary  tableau  is  represented  in  the 
following  manner :  Six  females  kneel  in  a  circle,  and 
support  a  circular  shield  three  feet  in  diameter, 
on  which  stands  a  young  lady  who  represents  Faith. 
Her  right  hand  grasps  a  cross  :  the  left  is  raised, 
the  forefinger  pointing  upward.  The  six  ladies 
should  be  dressed  in  pure  white  robes,  cut  low  at  the 
top.  The  hair  is  encircled  with  a  wreath  of  white 
flowers.  No  ornaments  of  any  kind  are  to  be  worn. 
The  hair  can  be  arranged  to  suit  the  taste  of  the 
performers.  Their  positions  are  as  follows :  The  two 
figures  supporting  the  front  of  the  shield  will  partially 
face  each  other,  resting  the  right  knee  on  the  floor,  and 


FAITH.  71 

facing  outward  from  the  circle,  both  hands  touching 
the  shield  above.  Two  other  ladies  form  behind  the 
right  hand  figures,  in  the  same  position,  and  two  more 
form  behind  the  left  hand  figures.  They  will  all  face 
outward,  and  support  the  shield  with  both  hands.  The 
eyes  should  be  cast  down,  the  expression  of  the  face 
serene.  It  will  be  necessary,  before  the  ladies  take 
their  position,  to  place  the  shield  on  a  pedestal  one  foot 
square,  and  high  enough  to  allow  the  figures  to  kneel 
beneath.  Cover  the  pedestal  and  shield  with  white 
cloth.  After  the  six  figures  have  taken  their  positions, 
the  figure  of  Faith  should  be  assisted  to  her  position 
on  the  top  of  the  shield.  She  must  be  of  good  figure, 
small,  regular  features,  and  dark  hair,  which  should  be 
quite  long.  Her  dress  consists  of  a  long,  white  robe, 
made  to  trail  on  the  top  of  the  shield,  the  waist  en- 
circled with  a  large  white  cord,  with  two  white  tassels 
attached ;  the  hair  brushed  back  from  the  head,  clasped 
with  a  silver  band,  and  allowed  to  flow  loosely  over  the 
shoulders ;  the  head  is  adorned  with  a  small  band  of 
silver,  one  fourth  of  an  inch  wide,  with  a  small  silver 
cross,  in  the  centre.  She  is  to  stand  perfectly  erect  in 
the  centre  of  the  shield,  the  cross  resting  on  the  right 
shoulder ;  the  eyes  lifted,  as  in  devotion ;  the  ex- 
pression of  the  face  calm,  and  yet  denoting  firmness 
and  energy ;  the  light  should  be  soft,  and  come  from 
the  front  right  hand  corner  of  the  stage ;  the  figures 
who  support  the  shield  must  be  partially  thrown  in 
the  shade,  while  Faith  receives  the  most  of  the  light. 
Music  accompanying  this  piece  should  be  of  a  sacred 
character. 


72  THE   TABLEAU. 


SPIRIT   OF    RELIGION. 

Religion  should  our  thoughts  engage 

Amidst  our  youthful  bloom  ; 
'Twill  fit  us  for  declining  years, 

And  for  the  approaching  tomb. 

AKOX. 

Six  Female  and  Three  Male  Figures. 

THIS  tableau  contains  nine  figures.  The  lady  who 
represents  Religion  stands  in  the  background  of  the 
picture,  on  a  pedestal  three  feet  high.  She  holds  a 
cross  on  her  left  shoulder ;  the  right  hand  grasps  her 
mantle,  which  she  unfolds,  revealing  herself  to  man- 
kind. The  lady  should  be  of  medium  height,  with 
light  hair,  which  hangs  loosely  over  the  shoulders. 
The  costume  consists  of  a  loose  white  dress,  cut  high 
at  the  top,  sleeves  fitting  tightly  to  the  arms,  while 
over  this  dress  is  worn  a  second,  which  is  open  in  front, 
and  is  made  of  white  tarleton  muslin.  Position  is 
facing  the  audience,  eyes  directed  straight  forward, 
expression  calm  and  thoughtful.  The  second  figure  is 
a  Beautiful  young  lady,  who  kneels  at  the  foot  of  the 
pedestal,  on  a  small  platform  one  foot  high,  and  rep- 
resents Hope.  One  hand  rests  on  a  large  Bible  ;  the 
other  points  up  to  the  cross,  and  bids  the  captive,  the 
dying,  and  broken-hearted,  who  kneel  in  the  fore- 
ground, to  look  up  to  Religion.  Costume  consists  of 
a  white  dress,  cut  high  at  the  throat,  short  sleeves ; 
hair  arranged  in  curls,  and  wings  of  gauze  fastened  to 


SPIRIT   OP  RELIGION.  73 

the  back  of  the  dress.  Position,  kneeling  at  the  foot  of 
the  pedestal,  facing  the  audience,  head  turned  slightly 
on  one  side,  one  knee  resting  on  the  floor,  the  body 
erect,  the  eyes  directed  to  the  figure  of  the  captive  in 
the  foreground.  The  third  figure  is  at  the  right  of  the 
pedestal  —  a  young  and  handsome  lady,  who  represents 
Faith.  She  holds  a  palm  branch  —  the  emblem  of  mar- 
tyrdom. Her  costume  consists  of  a  long  white  dress, 
over  which  is  thrown  a  white  mantle,  which  she  gathers 
about  her  breast.  Her  hair  hangs  loosely  over  her  shoul- 
ders, and  a  black  band  encircles  the  head.  Her  position 
is,  standing  on  a  small  pedestal  two  feet  high,  so  that  we 
have  a  profile  view  of  her  form.  Her  head  is  raised  to 
the  cross,  countenance  expressing  calmness  and  repose. 
Charity  is  represented,  on  the  left  of  the  pedestal,  by  a 
young  lady  who  extends  her  protection  to  two  helpless 
children.  Her  costume  is  a  white  dress,  opening  at 
the  bosom ;  hair  done  up  neatly,  over  which  hangs  a 
white  veil.  Her  position  is,  seated  at  the  right  of  the 
pedestal,  on  a  small  platform  two  feet  high,  body  facing 
the  audience,  head  bent  forward,  and  turned  towards 
Religion ;  eyes  cast  down  ;  each  arm  embraces  a  small 
child,  who  is  dressed  in  simple  costume.  The  captive 
is  represented  by  a  gentleman  wearing  a  suit  made  of 
coarse  cloth,  long  beard  and  hair,  face  painted  to  rep- 
resent age,  arms  and  waist  bound  with  chains.  He 
kneels  at  the  foot  of  Charity,  on  the  floor  of  the  stage  ; 
his  face  is  turned  towards  Hope.  Both  hands  are 
clasped  and  raised  in  front  of  the  breast.  Kneeling  at 
the  foot  of  Hope  are  two  other  figures.  One  is  a 
7 


74  THE   TABLEAU. 

female,  dressed  in  deep  mourning  ;  the  other,  an  aged 
man,  who  is  supported  by  the  lady.  His  costume  con- 
sists of  a  loose  robe  of  white  cloth,  trimmed  with  pur- 
ple ;  his  head  is  covered  with  white  hair,  and  from 
his  face  hangs  a  long  white  beard.  The  hair  and 
beard  can  be  made  of  flax.  The  lady  is  kneeling  next 
to  Faith  ;  the  right  arm  is  placed  around  the  aged  man, 
and  the  left  points  to  Religion  ;  the  head  is  turned 
upward,  and  the  expression  of  the  face  denotes  grief. 
The  aged  man  kneels  beside  the  figure  in  mourning, 
his  head  resting  on  her  shoulder,  with  his  clasped 
hands  stretched  out  in  front  ;  the  eyes  are  closed,  and 
the  face  downcast.  The  tableau  must  be  formed  in 
the  centre  of  the  stage.  The  light  should  be  quite 
strong,  and  come  from  the  right  of  the  stage.  Music 
of  a  sacred  character. 


THE  POET  AND  THE  GODDESS  OF  POETRY. 

The  poet's  pen  is  the  true  divining  rod 

Which  trembles  towards  the  inner  fount  of  feeling, 

Bringing  to  light  and  use,  else  hid  from  all, 

The  many  sweet,  clear  sources  which  we  have 

Of  good  and  beauty  in  our  own  deep  bosoms  ; 

And  marks  the  variations  of  all  mind, 

As  does  the  needle  an  air-investing  storm. 

FESTUS. 

One  Female  and  One  Male  Figure. 

THIS  beautiful  tableau  is  personated  by  two  figures, 
a  young  man  and  a  maiden.  The  scene  represented  is 
a  dark  and  gloomy  attic.  An  old  table  stands  in  the 


THE  POET  AND  THE  GODDESS  OF  POETRY.     75 

middle  of  the  room ;  on  it  are  a  few  books  and  man- 
uscripts, an  inkstand,  a  candlestick,  with  a  partly- 
burned  candle  inserted  in  it,  a  mug  of  water,  and 
a  roll  of  bread.  Near  the  table  is  an  old-fashioned 
arm  chair,  in  which  is  seated  a  young  man  dressed  in 
cheap  clothing.  He  has  leaned  his  head  upon  the 
table,  and  is  lamenting  over  his  poverty  and  misfortune. 
As  he  sits  weeping,  a  mist  gathers  in  the  chamber ;  it 
slowly  grows  denser,  till  at  last  it  becomes  a  cloud  of 
light ;  and  lo  !  in  the  midst  of  the  cloud  stands  a  divine 
shape  —  the  Goddess  of  Poetry  —  supremely  beautiful. 
She  addresses  the  Poet,  gives  him  advice  and  consola- 
tion, and  encourages  him  to  renewed  efforts  in  the  path 
of  fame  ;  then  vanishes  from  his  sight.  Besides  the 
furniture  already  described,  there  should  be  a  few 
chairs,  pictures,  and  a  piece  of  statuary,  placed  in 
various  parts  of  the  stage.  The  Poet's  costume  con- 
sists of  a  loose  black  coat,  dark  breeches,  light  vest, 
white  hose,  low  shoes,  knee  and  shoe  buckles.  Posi- 
tion is  near  the  table,  his  arms  laid  across  it,  his  head 
resting  on  his  arms,  and  in  a  position  that  displays  a 
profile  view  of  the  body.  The  Goddess  of  Poetry 
should  be  a  young  lady  of  good  height,  figure,  and 
features,  and  costumed  in  a  flowing  white  dress,  cut 
low  at  the  neck,  with  short  sleeves  trimmed  with  white 
satin  ribbon ;  a  wide  muslin  mantle  should  be  worn 
across  the  shoulders ;  a  wreath  of  myrtle  adorns  the 
head.  In  her  right  hand  she  holds  a  golden  harp ;  the 
left  is  placed  on  the  shoulder  of  the  Poet.  Her  posi- 
tion is  behind  the  table,  in  the  background  of  the  pic- 


76  THE  TABLEAU. 

ture,  and  facing  the  audience.  Her  head  is  slightly 
bent  forward,  and  eyes  directed  to  the  face  of  the 
youth ;  her  countenance  expresses  pleasure.  The  fol- 
lowing machinery  can  be  used,  if  desired,  which  will 
add  very  much  to  the  beauty  of  the  piece.  In  place  of 
the  Goddess  being  at  the  side  of  the  Poet  when  the 
curtain  rises,  a  sliding  platform  can  be  made  to  move 
on  to  the  stage  from  the  ante-room,  on  which  the  God- 
dess should  stand.  A  stout  post  firmly  fixed  in  one 
side  will  enable  the  lady  to  stand  perfectly  still  while 
the  platform  moves  to  its  position.  All  that  is  neces- 
sary in  the  construction  of  this  part  of  the  work  is  to 
make  a  set  of  ways,  and  a  sliding  platform  that  will 
run  with  ease  from  one  side  of  the  stage  to  the  other. 
A  rope  attached  to  the  platform,  and  fastened  to  a 
crank  below  the  stage,  will  propel  the  Goddess  to  her 
position.  The  ways  and  platform  can  be  hidden  from 
view  by  a  strip  of  board,  painted  to  imitate  the  floor  of 
the  room.  A  small  quantity  of  the  whitish-blue  fire 
may  be  burned  near  the  spot  where  the  Goddess  ap- 
pears. The  light  should  be  very  dim,  and  come  from 
the  side  of  the  stage  opposite  the  Poet.  Music  soft 
and  plaintive. 


DEATH  OP  EDITH.  77 


DEATH   OF   EDITH. 

O'er  her  low  couch  an  Indian  matron  hung, 
"While  in  grave  silence,  yet  with  earnest  eye, 
The  ancient  warrior  of  the  waste  stood  by, 
Bending  in  watchfulness  his  proud  gray  head, 
And  leaning  on  his  bow. 

Solemnly  beautiful,  a  stillness  deep, 
Fell  on  her  settled  face.    Then,  sad  and  slow, 
And  mantling  up  his  stately  head  in  awe, 
"Thou'rt  passing  hence,"  he  sang,  that  warrior  old, 
In  sounds  like  those  by  plaintive  waters  rolled. 

"  Thou'rt  passing  from  the  lake's  green  side, 

Aoid  the  hunter's  heath  away ; 
For  the  time  of  flowers,  for  the  summer's  pride, 

Daughter,  thou  canst  not  stay. 

"  Thou'rt  journeying  to  thy  spirit's  home, 

Where  the  skies  are  ever  clear ; 
The  corn-month's  golden  hours  shall  come, 

But  they  shall  not  find  thee  here." 

The  song  ceased,  the  listeners  caught  no  breath ; 

That  lovely  sleep  had  melted  into  death. 

MBS.  HEMANS. 

Three  Female  and  Two  Male  Figures. 

THIS  tableau  is  suggested  by  the  beautiful  poem  of 
Mrs.  H'emans,  called  Edith,  a  Tale  of  the  Woods.  The 
circumstances  of  the  poem  refer  to  the  western  world 
in  its  first  settlement,  when  fierce  strife  and  combat 
raged  between  the  wild  Indian  and  the  settlers  from 
the  mother  country.  In  one  of  these  fearful  scenes  a 
young  and  beautiful  maiden  was  taken  captive,  and 
conveyed  to  the  village  of  the  red  man.  But  the 
broken  flower  of  England  wasted  and  pined  for  the  fine 
old  home  of  other  days. 


78  THE  TABLEAU. 


"  The  parting  sigh 

Of  autumn  through  the  forests  had  gone  by, 
And  the  rich  maple,  o'er  her  wanderings  lone, 
Its  crimson  leaves  in  many  a  shower  had  strown, 
Flushing  the  air ;  and  winter's  blast  had  been 
Amidst  the  pines  ;  and  now  a  softer  green 
Fringed  their  dark  boughs  ;  for  spring  again  had  come, 
The  sunny  spring  !  but  Edith  to  her  home 
Was  journey  ing  fast." 


The  scene  represented  in  this  tableau  is  at  the  time 
when  Edith  is  quietly  sleeping  in  the  wigwam  of  the 
Indian  warrior.  By  her  side  sits  an  aged  Indian  mat- 
ron, watching  the  sleeping  one.  Standing  near  the 
couch  is  an  old  Indian  warrior  leaning  on  his  bow,  gaz- 
ing in  grave  silence  on  the  dying  girl.  Kneeling  at  the 
foot  of  the  couch  are  an  Indian  girl  and  lad,  who  are 
looking  with  wonder  on  the  form  of  the  pale-face.  The 
wigwam  should  be  six  feet  high,  and  five  feet  wide  at 
the  bottom.  It  should  be  made  of  light  framework, 
and  covered  with  brown  cambric,  on  which  are  painted 
Indian  hieroglyphics.  This  must  be  placed  in  the 
centre  of  the  stage.  The  opening  in  front  of  the  wig- 
wam should  be  four  feet  wide  at  the  bottom,  so  as  to 
admit  of  the  occupants  being  visible  to  the  audience. 
The  couch  in  the  interior  is  composed  of  buffalo  robes. 
The  scenery  in  the  background  should  represent  woods 
and  rocks.  A  few  fir  trees  placed  at  the  back  part  of 
the  stage  will  answer,  if  nothing  better  can  be  pro- 
cured. The  lady  who  personates  Edith  should  be 
one  of  good  features  and  rather  a  small  form.  Her 
costume  consists  of  a  loose  white  dress,  sleeves  five 
inches  long,  hair  done  up  loosely  in  the  neck,  and  face 


DEATH    OF   EDITH.  79 

and  neck  made  as  white  as  possible.  Position,  reclining 
on  the  couch,  facing  the  audience,  the  lower  part  of 
the  body  covered  with  a  leopard  skin.  The  head  and 
chest  should  be  in  an  upright  position,  the  head  in- 
clined back  slightly,  and  supported  by  the  right  hand. 
The  left  hand  laid  carelessly  over  the  bosom ;  the  eyes 
are  closed,  the  countenance  calm.  The  aged  Indian 
warrior  should  be  dressed  in  a  costume  like  that  de- 
scribed in  Hiawatha ;  the  aged  matron's  costume  sim- 
ilar to  that  worn  by  Nokomis,  in  the  death  of  Minne- 
haha ;  the  young  Indian  children  in  appropriate  cos- 
tumes. The  position  of  the  Indian  matron  is,  sitting 
at  the  head  of  the  sleeping  girl,  one  hand  resting 
on  the  pillow,  and  the  other  raised  to  the  side  of 
the  head ;  the  eyes  cast  upon  the  ground.  The 
warrior's  position  is  at  the  opposite  side  of  the  wig- 
wam. He  is  leaning  carelessly  upon  his  bow;  his  body 
inclined  forward  slightly;  his  eyes  fixed  upon  the 
sleeping  maiden.  The  children  kneel  at  the  foot  of 
the  couch ;  the  boy  rests  his  head  upon  his  hand,  and 
gazes  upon  the  face  of  the  dying  one  ;  the  Indian  girl 
kneels  by  his  side,  and  points  with  her  right  hand  to 
the  couch,  while  her  eyes  are  directed  to  the  face  of 
the  boy.  The  face  and  other  exposed  parts  of  the 
bodies  of  the  Indian  family  must  be  stained  light 
brown.  A  red  fire  should  be  burned  in  the  ante-room, 
so  as  to  fall  upon  the  performance.  Music  soft  and 
plaintive. 


80  THE  TABLEAU. 


ABOU  BEN  ADHEM  AND  THE  ANGEL. 

Abou  Ben  Adhem  (may  his  tribe  increase) 
Awoke  one  night  from  a  deep  dream  of  peace, 
And  saw,  within  the  moonlight  in  his  room, 
Making  it  rich  and  like  a  lily  in  bloom, 
An  angel  writing  in  a  book  of  gold. 
Exceeding  peace  had  made  Ben  Adhem  bold, 
And  to  the  presence  in  the  room  he  said, 
"  What  writest  thou  ?  "    The  vision  raised  its  head, 
And  with  a  look  made  all  of  sweet  accord, 
Answered,  "  The  names  of  those  who  love  the  Lord.v 
"  And  is  mine  one  ? "  said  Abou.    "  Nay,  not  so," 
Replied  the  angel.    Abou  spoke  more  low, 
But  clearly  still,  and  said,  "  I  pray  thee,  then, 
"Write  me  as  one  that  loves  his  fellow-men." 

The  angel  wrote  and  vanished.    The  next  night 

It  came  again  with  a  great  wakening  light, 

And  showed  the  names  whom  love  of  God  had  blessed, 

And  lo !  Ben  Adhem's  name  led  all  the  rest. 

LEIGH  HUNT. 

One  Female  and  One  Male  Figure. 

THIS  very  fine  tableau  is  taken  from  the  beautiful 
lines  written  by  Leigh  Hunt.  The  tableau  is  repre- 
sented in  two  scenes.  In  the  first  scene,  Ben  Adhem 
is  seen  reclining  on  his  couch,  gazing  with  wonder  and 
surprise  on  the  angel,  who  is  standing  in  the  centre  of 
the  room,  engaged  in  writing  in  the  book  of  gold.  In 
the  second  scene,  the  angel  stands  at  the  foot  of  the 
couch,  and  holds  the  book  towards  Ben  Adhem  for  him 
to  read  the  names  written  therein.  The  couch  can  be 
formed  by  placing  a  small  mattress  on  a  few  low  boxes, 
and  covering  the  whole  with  bed  clothes,  on  the  outside 
of  which  should  be  a  white  quilt.  It  must  be  placed 


ABOU  BEN  ADEEM  AND  THE  ANGEL.       81 

in  the  foreground,  at  the  right  of  the  stage.  Place 
a  plaster  pedestal  near  the  side  of  the  couch,  on  the 
top  of  which  stand  a  lighted  lamp.  At  the  background 
of  the  picture  fasten  a  set  of  crimson  damask  curtains ; 
drape  them  at  each  side  of  the  stage,  and  beneath 
them  place  a  plaster  pedestal,  with  a  piece  of  statuary 
on  the  top. 

The  lady  who  personates  the  angel  should  be  of  good 
form  and  features,  of  medium  height,  and  costumed  in 
a  white  dress,  over  which  is  worn  a  loose  white  tarle- 
ton  muslin  robe,  with  large  flowing  sleeves  ;  this  must 
be  cut  quite  low  at  the  top,  and  made  to  trail  on  the 
floor ;  hair  done  up  snugly,  and  encircled  with  a  band 
of  silver,  one  fourth  of  an  inch  wide ;  large  wings, 
formed  of  wire,  and  covered  with  gauze,  and  orna- 
mented with  silver  spangles,  should  be  fastened  to  the 
back  of  the  waist.  The  face  and  other  exposed  parts 
of  the  body  should  be  whitened  with  flesh  powder. 
Position  in  the  first  scene  is,  standing  in  the  centre  of 
the  room,  facing  the  audience.  The  book  of  gold  can 
be  imitated  by  placing  sheets  of  gold  paper  on  the 
cover  and  in  the  inside  of  a  large  book.  Let  it  rest  on 
the  left  arm,  and  be  held  at  the  top  by  the  left  hand. 
The  right  hand  holds  a  long  quill  pen,  the  point 
of  which  rests  on  the  pages  of  the  book.  Let  the 
body  and  head  incline  forward  slightly;  the  eyes 
directed  to  the  book ;  the  expression  of  the  face  tran- 
quil. Ben  Adhem's  position  in  the  first  scene  is,  re- 
clining on  the  couch,  with  the  quilt  thrown  over  the 
lower  portion  of  his  body ;  his  left  hand  resting  on  the 


82  THE   TABLEAU. 

bed,  from  which  he  has  partially  risen ;  the  right 
raised  in  front  of  the  chest,  the  fingers  spread  out ; 
the  face  turned  towards  the  angel,  the  expression  of  the 
face  denoting  surprise  and  wonder.  Costume  consists 
of  white  pants  and  shirt,  white  lace  collar  and  wrist- 
bands, and  a  velvet  cloak  thrown  carelessly  over  the 
right  shoulder.  In  the  second  scene,  the  angel  stands 
at  the  foot  of  the  couch,  holding  the  book  in  the  left 
hand,  and  pointing  to  its  pages  with  the  right.  Her 
eyes  are  fixed  on  Ben  Adhem's  face,  while  the  coun- 
tenance is  lighted  up  with  smiles.  Ben  Adhem  leans 
forward,  slightly  resting  his  arm  on  a  cushion  at  his 
side,  and  looks  with  pleasure  on  the  pages  of  the  book. 
A  number  of  names  should  be  written  in  the  book,  and 
at  the  top,  in  large  letters,  place  the  name  of  Abou 
Ben  Adhem.  While  the  tableau  is  performed,  the 
poem  may  be  read  by  the  announcer.  The  light  for 
the  first  scene  should  be  quite  dim,  and  come  from 
the  side  of  the  stage  opposite  Abou.  In  the  second 
scene,  a  colored  fire  must  be  burned,  so  as  to  throw  a 
strong  light  on  the  form  of  the  angel.  Music  in  the 
first  scene  very  soft,  and  increasing  in  power  in  the 
second. 


HIAWATHA   AND  HIS  BBIDE'S  ABEIVAL  HOME.         83 


HIAWATHA  AND  HIS  BRIDE'S  ARRIVAL  HOME. 

Pleasant  was  their  journey  homeward ! 
All  the  birds  sang  loud  and  sweetly 
Songs  of  happiness  and  heart's  ease ; 
Sang  the  blue  bird,  the  Owaissa, 
"  Happy  are  you,  Hiawatha, 
Having  such  a  wife  to  love  you !  " 
Sang  the  robin,  the  Opechee, 
"  Happy  are  you,  Laughing  "Water, 
Having  such  a  noble  husband !  " 

Thus  it  was  they  journeyed  homeward ; 
Thus  it  was  that  Hiawatha 
To  the  lodge  of  old  Nokomis 
Brought  the  moonlight,  starlight,  firelight, 
Brought  the  sunshine  of  his  people, 
Minnehaha,  Laughing  Water, 
Handsomest  of  all  the  women 
In  the  land  of  the  Dacotahs, 
In  the  land  of  handsome  women. 

LONG  FELLOW. 

One  Male  and  Two  Female  Figures. 

THIS  interesting  tableau  is  a  representation  of  Hia- 
watha on  the  return  to  his  home  accompanied  by  his 
beautiful  bride,  Minnehaha.  They  have  just  arrived 
in  sight  of  the  lodge  of  old  Nokomis,  and  are  seen  in 
the  background  of  the  picture  emerging  from  the  for- 
est. A  large  tree  lies  in  the  pathway,  and  Minnehaha 
is  in  the  act  of  stepping  over  it.  She  grasps  Hiawatha's 
hand  with  her  right,  while  the  left  is  pointed  towards 
the  wigwam  in  the  foreground.  She  has  just  asked 
Hiawatha  if  the  lodge  she  sees  is  his  home.  Her  coun- 
tenance is  lighted  up  with  pleasure.  Hiawatha  is  lead- 
ing her  by  the  hand,  and  is  a  little  in  advance  of  her. 
His  face  is  turned  towards  her  as  he  gracefully  assists 


84  THE   TABLEAU. 

her  over  the  fallen  tree.     His  left  hand  clasps  hers, 
while  the  right  holds  carefully  his  trusty  bow. 

Hand  in  hand  they  went  together, 
Through  the  woodland  and  the  meadow. 

Hiawatha's  face  is  lighted  up  with  pleasant  smiles 
as  he  looks  upon  the  face  of  his  bride,  and  tells  her 
that  yonder  lodge  is  to  be  her  new  home.  The  lodge 
of  old  Nokomis  is  in  the  foreground  of  the  picture, 
at  the  right  of  the  stage.  Minnehaha  and  Hiawatha 
are  in  the  background  at  the  left.  The  door  of  the 
wigwam  is  open,  and  seated  in  the  doorway  on  a  log 
is  old  Nokomis  smoking  her  pipe.  In  front  of  the 
tent  are  the  half  burned  embers  of  the  camp  fire ;  a 
light  smoke  is  curling  up  to  the  sky,  and  all  is  quiet 
and  still.  Nokomis  is  gazing  vacantly  into  the  embers 
of  the  fire :  perhaps  she  is  thinking  of  the  days  when  she 

Nursed  the  little  Hiawatha, 
Rocked  him  in  his  linden  cradle, 
Bedded  soft  in  moss  and  rushes, 
Softly  bound  with  reindeer's  sinews. 

Hiawatha,  Minnehaha,  arid  Nokomis  should  be  dressed 
in  Indian  costume,  which  can  be  cheaply  made  with 
a  little  ingenuity.  Hiawatha's  coat  may  be  made  of 
light  brown  cambric,  cut  frock  style,  and  belted  around 
the  waist.  The  skirt  should  reach  to  the  knee,  and  be 
ornamented  with  two  rows  of  fringe  three  inches  wide  ; 
one  should  be  red,  the  other  yellow.  These  fringes  are 
also  to  be  placed  on  the  seams  and  bottom  of  the 
sleeves  and  around  the  collar ;  round  pieces  of  brass 
should  be  fastened  on  various  parts  of  the  coat  and 


HIAWATHA   AND   HIS   BRIDE'S   ARRIVAL   HOME.         85 

around  the  belt.  The  leggings  are  made  of  buff  cam- 
bric, fitting  tightly  to  the  legs,  and  ornamented  at  the 
side  with  red  fringe.  Black  cloth  shoes  trimmed  with 
beads  are  worn  on  the  feet ;  the  head  is  adorned  with  a 
gold  band,  in  which  are  inserted  bright-colored  feathers. 
The  belt  around  the  waist  should  be  made  three  inches 
wide,  of  red  morocco,  and  contain  a  small  knife  and 
tomahawk ;  a  quiver  of  arrows  is  fastened  to  the  back, 
which  can  be  fashioned  of  card-board,  and  covered  with 
bright-colored  paper  or  cloth.  The  exposed  parts  of 
the  body  should  be  stained  a  light  brown,  the  hair 
brushed  up  to  the  top  of  the  head,  and  confined 
with  a  band.  Minnehaha's  dress  is  of  red  cloth, 
trimmed  with  yellow  fringe  intermingled  with  colored 
beads.  The  waist  of  the  dress  should  be  of  flesh-col- 
ored cloth  made  to  fit  the  body  very  snugly.  A  scarf 
of  ermine  is  worn  over  the  shoulders,  and  tied  at  the 
left  side.  On  the  right  side  of  the  skirt  is  an  over- 
skirt  or  side-apron,  made  of  a  darker  colored  crimson, 
and  trimmed  with  ermine  ;  it  commences  at  the  front 
of  the  body,  and  extends  half  way  around  the  skirt ;  it 
is  scalloped  at  the  bottom,  and  ornamented  with  yellow 
fringe  and  beads  outside  of  the  ermine.  The  neck  is 
adorned  with  a  large  necklace  of  white  beads,  while 
the  head  is  encircled  with  a  band  of  gold,  ornamented 
with  beads  and  showy  plumes.  The  hair  should  be 
left  flowing  over  the  shoulders.  The  wrists  are  to  be 
decorated  with  large  gold  bracelets.  The  leggings  are 
to  be  of  crimson  cloth  ornamented  with  yellow  fringe, 
and  small  bands  of  yellow  running  around  them  at 


86  THE   TABLEAU. 

intervals  of  four  inches.  The  feet  are  encased  in  shoes 
of  black  velvet  studded  with  beads.  A  quiver  of  arrows 
is  fastened  to  the  back  of  the  dress,  and  the  exposed 
parts  of  the  body  stained  light  brown. 

Nokomis  has  on  a  loose  coat  of  brown  cambric 
fringed  with  yellow,  leggings  of  buff  cambric  fringed 
with  light  blue,  dark  shoes  ornamented  with  beads 
and  red  binding.  The  hair  should  be  black,  and  left 
to  hang  loose  on  the  shoulders ;  a  blue  blanket 
trimmed  with  crimson  fringe  is  gathered  about  the 
shoulders,  and  a  black  belt  encircles  the  waist.  The 
person  who  represents  Nokomis  should  be  of  large 
figure  and  face.  The  features  must  be  painted  to  rep- 
resent old  age.  The  scenery  consists  of  the  following 
articles,  which  should  be  arranged  in  perfect  order  to 
give  the  proper  effect  to  the  picture.  The  stage 
must  be  covered  with  green  cloth,  and  should  grad- 
ually rise  from  the  fore  to  the  background  ;  small 
spruce  trees  can  be  arranged  at  the  back  and  sides 
of  the  stage,  with  vines  of  flowers  hanging  from 
them.  Two  or  three  stuffed  birds  should  be  fastened 
to  the  top  branches  of  the  trees.  The  fire  can  be 
placed  in  a  furnace  near  the  wigwam,  and  surrounded 
with  dried  branches.  The  fallen  tree  and  Nokomis'  seat 
may  be  represented  by  artificial  or  natural  logs.  The 
tableau  should  receive  the  light  from  the  right  hand 
side,  the  greater  portion  of  which  should  be  thrown 
into  the  background.  The  accompanying  music  should 
be  of  secular  and  inspiring  order. 


DAVID   PLAYING  BEFORE  SAUL.  87 


DAVID   PLAYING  BEFORE   SAUL. 

Sing  aloud  unto  God  our  strength,  and  make  a  joyful  noise  unto  the  God  of 
Jacob. 

Take  a  psalm,  and  bring  hither  the  timbrel,  the  pleasant  harp  with  the 
psaltery. 

Blow  upon  the  trumpet  in  the  new  moon,  in  the  time  appointed,  on  our  sol- 
emn feast  day. 

For  this  was  a  statute  for  Israel  and  a  law  of  the  God  of  Jacob. 

PSALM  LXXXI. 

And  Saul's  servants  said  unto  him,  Behold  now,  an  evil  spirit  from  God 
troubleth  thee.  Let  our  Lord  now  command  thy  servants,  which  are  before 
thee,  to  seek  out  a  man  who  is  a  cunning  player  on  a  harp ;  and  it  shall 
come  to  pass,  when  the  evil  spirit  from  God  is  upon  thee,  that  he  shall  play 
with  his  hand,  and  thou  shalt  be  well.  And  Saul  said  unto  his  servants, 
Provide  me  now  a  man  that  can  play  well,  and  bring  him  to  me.  Then  an- 
swered one  of  his  servants,  and  said,  Behold,  I  have  seen  a  son  of  Jesse  the 
Bethlehemite,  that  is  cunning  in  playing,  and  a  comely  person.  Wherefore 
Saul  sent  messengers  unto  Jesse,  and  said,  Send  me  David  thy  son.  And 
David  came  to  Saul,  and  stood  before  him  ;  and  it  came  to  pass,  when  the  evil 
spirit  from  God  was  upon  Saul,  that  David  took  a  harp,  and  played  with  his 
hand.  So  Saul  was  refreshed,  and  was  well,  and  the  evil  spirit  departed  from 
him.  1  SAMUEL  xvi. 

Six  Female  and  Eight  Male  Figures. 

THIS  sacred  tableau  contains  fourteen  figures,  and  is 
arranged  in  the  following  manner.  Saul  is  seen  seated 
on  the  throne  at  the  background  of  the  picture.  On 
each  side  of  the  throne  are  seated  Saul's  friends  and 
servants.  David  is  sitting  in  the  foreground,  playing 
on  the  harp.  Saul's  costume  consists  of  a  scarlet  or 
purple  velvet  coat  and  breeches,  white  hose  crossed 
with  red  bands,  low  shoes,  a  crown  of  velvet  and 
gold,  ornamented  with  precious  stones,  on  the  head, 
and  a  large  cloak  of  velvet  and  ermine  thrown  over 
the  shoulders.  A  long  white  beard  should  be  fastened 


88  THE  TABLEAU. 

to  the  face,  and  a  wig  worn  on  the  head.  The  gentle- 
men should  be  attired  in  long,  loose  coats,  made  of 
bright-colored  cambric,  trimmed  with  the  same  ma- 
terial, of  other  colors.  The  head  should  be  covered 
with  a  red  and  black  turban.  White  hose,  crossed 
with  black  and  red  bands,  breeches  of  showy-colored 
cloth,  shoes  covered  with  red  flannel,  and  crossed  with 
black  binding,  the  face  disguised  with  a  long  white 
beard,  which  can  be  made  of  flax.  The  ladies  can 
be  costumed  in  satin  or  silk  dresses,  the  hair  hanging 
in  curls,  and  the  person  decorated  with  a  profusion  of 
jewelry.  The  person  who  takes  the  part  of  David 
should  be  of  fair  complexion,  without  a  beard, 
should  have  long  hair,  and  be  costumed  in  a  light, 
loose  blue  coat,  reaching  five  inches  below  the  knee, 
and  gathered  around  the  waist  with  a  crimson  belt.  He 
should  also  wear  blue  breeches,  blue  hose  crossed  with 
red  bands,  and  sandals  on  the  feet ;  a  turban,  made 
of  velvet,  and  decorated  with  gold,  should  adorn  the 
head.  The  throne  platform  is  to  be  two  feet  high 
and  four  feet  square ;  on  this  is  placed  a  large  chair, 
with  a  canopy  over  the  top,  all  of  which  must  be 
trimmed  with  crimson  cloth,  and  decorated  with  gold 
paper.  On  each  side  of  the  throne,  place  seats  to 
accommodate  twelve  persons ;  those  in  front  can  be 
seated,  while  others,  in  the  background,  should  be 
standing  ;  they  must  assume  various  positions ;  a  few 
may  be  engaged  in  conversation,  while  others  are  look- 
ing at  David.  Saul  is  seated  on  the  throne,  with  the 
right  hand  resting  on  the  arm  of  the  chair,  his  body 


LIBERTY.  89 

slightly  bent  forward,  and  eyes  fixed  on  David.  His 
countenance  expresses  pleasure.  David  is  seated  on  a 
low  ottoman  in  the  foreground  of  the  picture.  The 
harp  rests  on  the  floor.  Position  so  that  a  side  view  is 
had  of  the  body.  His  head  is  thrown  back  ;  eyes  cast 
upward;  face  expresses  pleasure.  The  light  for  this 
picture  should  come  from  the  front  and  the  left  side 
of  the  stage,  and  must  be  quite  brilliant.  The  harp  can 
be  made  of  wood,  covered  with  gold  paper,  and  strung 
with  yellow  cord.  The  music  should  be  of  a  sacred  and 
inspiring  style. 


LIBERTY. 

"  0  Liberty,  can  man  resign  thee 

Once  having  felt  thy  generous  flame  ? 
Can  dungeons,  bolts,  or  bars  confine  thee, 

Or  whips  thy  noble  spirit  tame  ? 
Too  long  the  world  has  wept,  bewailing 

That  falsehood's  dagger  tyrants  wield  ; 

But  freedom  is  our  sword  and  shield, 
And  all  their  arts  are  unavailing. 

To  arms,  to  arms,  ye  brave  ! 

The  avenging  sword  unsheathe  ! 
March  on,  march  on,  all  hearts  resolved 
On  victory  or  death." 

Seven  Female  and  Six  Male  Figures. 

THIS  tableau  is  an  ideal  representation  of  Liberty, 
and  is  represented  by  thirteen  persons  —  seven  young 
ladies  and  six  young  gentlemen.  In  the  background 
of  the  picture  a  platform  is  raised,  on  which  stands  the 
Goddess  of  Liberty.  This  platform  is  three  feet  high 


90  THE    TABLEAU. 

and  four  feet  square.  The  front  is  covered  with  blue 
cambric,  with  a  border  of  red,  decorated  with  gilt 
stars.  In  the  centre  is  placed  a  gilt  eagle ;  on  each 
end  of  the  platform  is  a  small  American  shield.  The 
background  is  draped  with  American  flags.  On  each 
side  of  the  platforms  are  placed  inclined  planes,  extend- 
ing from  the  corners  of  the  platform  to  the  front  corners 
of  the  stage  ;  the  height  of  these  at  the  front  should 
be  six  inches,  and  three  feet  high  at  the  background. 
They  are  to  be  covered  with  white  cloth,  and  orna- 
mented with  a  border  of  red  and  blue  cambric.  The 
lady  who  personates  the  Goddess  of  Liberty  should  be 
of  good  height,  fine  figure  and  features.  Costume 
consists  of  a  white  satin  or  silk  dress,  made  long  enough 
to  trail  on  the  platform,  a  waist  of  crimson  velvet,  cov- 
ered with  small  gilt  stars,  sleeves  five  inches  long,  hair 
done  up  snugly,  and  covered  with  a  spiral  liberty  cap, 
of  blue  velvet,  decorated  with  gold  bands.  Position 
is,  standing  in  the  centre  of  the  platform,  grasping  with 
the  right  hand  a  slender  spear  seven  feet  in  length. 
Entwined  around  this  should  be  a  small  American  en- 
sign. The  left  hand  hangs  carelessly  at  the  side  ;  the 
head  thrown  back  slightly,  the  eyes  cast  upward. 
The  six  ladies  kneel  at  equal  distances  on  the  inclined 
plane.  Their  costume  consists,  of  a  white  dress,  blue 
waist,  and  red  sash;  a  garland  of  flowers  should 
adorn  the  head,  and  each  holds  extended  in  the  right 
hand  a  wreath  of  myrtle.  Their  attention  should  be 
directed  to  the  Goddess  of  Liberty.  The  six  gentle- 
men take  position  on  the  opposite  inclined  plane. 
They  kneel  at  equal  distances  from  the  platform  to  the 


PAGANISM   AND   CHRISTIANITY.  91 

corner  of  the  stage,  and  are  costumed  in  blue  or  black 
coats,  white  pants,  with  buff  stripe  on  the  side,  gold 
epaulets,  side  arms,  red  sash,  flat  caps,  with  gilt  bands. 
The  cap  should  be  slightly  raised  with  the  right  hand, 
while  the  left  is  placed  on  the  hip.  The  eyes  are  to  be 
directed  to  the  Goddess.  The  piece  should  be  lighted 
up  by  a  red  fire  burned  at  the  opposite  side  from  the 
gentlemen,  and  the  light  must  be  quite  brilliant. 
Music,  Star-spangled  Banner. 


PAGANISM  AND   CHRISTIANITY. 

O'er  the  realms  of  pagan  darkness, 

Let  the  eye  of  pity  gaze  ; 
See  the  kindred  of  the  people 

Lost  in  sin's  bewildering  maze  ; 
May  the  heathen,  now  adoring 

Idol  gods  of  wood  and  stone, 
Come,  and,  worshipping  before  him, 

Serve  the  living  God  alone. 

COTTERILL. 

Two  Female  and  Two  Male  Figures. 

THIS  double  tableau  represents  the  idolatrous  system 
of  faith  and  worship  of  the  pagans,  and  by  simple 
machinery  the  scene  is  made  to  pass  from  the  view  of 
the  audience,  and  we  have  represented  the  faith  and 
glorious  emblems  of  Christianity.  The  machinery  and 
scenery  which  are  used  in  the  piece  are  made  in  the 
following  manner  :  A  revolving  beam  should  be  set 
up  under  the  stage,  the  upper  end  protruding  through 
the  floor.  Washers  will  be  needed  for  the  bottom  and 


92  THE   TABLEAU. 

top,  and  wooden  pins,  passing  through  the  beam, 
be  necessary,  to  take  hold  of  to  move  it  around.  Build 
a  circular  platform  ten  feet  in  diameter ;  make  it 
strong  with  braces,  and,  if  necessary,  it  can  be  made  in 
two  parts,  and  fastened  together  with  iron  hooks  and 
clamps.  Cut  a  square  hole  in  the  centre  of  the 
platform,  corresponding  with  the  thickness  of  the 
beam.  Then  place  it  on  the  top  of  the  beam,  six 
inches  from  the  floor,  secure  it  firmly,  and  make  it 
perfectly  level.  Across  the  centre  of  the  platform 
cut  small  holes  for  the  purpose  of  inserting  the  ends  of 
a  partition  which  will  divide  the  circle  into  two  apart- 
ments ;  make  the  partition  of  wood ;  cover  one  side 
with  white  cloth,  and  also  the  floor  with  the  same  ;  the 
other  side  and  floor  with  black  cloth.  It  should  be 
five  feet  high,  ten  feet  wide,  and  oval  at  the  top.  After 
the  tableaux  are  arranged  on  each  side  of  the  platform, 
persons  under  the  stage  can  revolve  the  whole  with 
very  little  exertion.  The  tableau  of  Christianity 
should  be  formed  on  the  light  side,  and  Paganism 
on  the  dark  side.  By  placing  numbers  on  the  re- 
volving beam,  and  corresponding  numbers  on  the 
washers,  the  assistant  below  will  be  able  to  tell  when 
the  tableau  is  in  the  right  position  above.  To  rep- 
resent Paganism,  a  large  idol  should  be  constructed, 
and  seated  in  the  centre,  and  close  to  the  black  parti- 
tion. The  form  of  the  human  body  can  be  imitated  by 
taking  a  suit  of  old  garments,  stuffing  them  with  straw, 
and  covering  them  with  buff  cambric,  on  which  hiero- 
glyphics can  be  painted.  A  large  mask,  with  artificial 


PAGANISM   AND   CHRISTIANITY.  93 

hair,  and  crown  made  of  gaudy-colored  cloth,  will 
answer  for  the  head ;  a  short  frock  of  red  Turkey 
cloth,  trimmed  with  gold  paper,  should  be  fastened 
about  the  lower  portion  of  the  body.  The  idol  should 
be  seated  on  a  pedestal  sixteen  inches  high,  which  is 
placed  on  a  platform  three  feet  square  and  eight  inches 
high.  These  are  to  be  decorated  with  showy  cloth  or 
paper.  Kneeling  at  the  foot  of  the  pedestal  are  two 
figures,  one  a  female,  the  other  a  male.  Their  hands 
are  clasped  in  front  of  the  face,  the  eyes  raised  to  the 
idol,  head  turned,  so  that  a  side  view  is  had  of  the  fea- 
tures. The  costume  of  the  youth  consists  of  a  loose 
coat,  made  of  brown  cambric,  trimmed  with  crimson 
cloth  and  beads ;  flesh-colored  pants,  fitting  tightly  to 
the  legs ;  shoes  covered  with  showy  cloth  ;  a  turban  on 
the  head,  made  of  strips  of  red  and  buff  cloth;  the 
face  and  other  exposed  parts  of  the  body  stained  a  light 
brown.  The  young  lady's  costume  consists  of  a  loose 
dressing  gown,  trimmed  around  the  top  and  on  the 
ends  of  the  sleeves  with  bands  of  red  cloth,  and  gold 
paper  cut  in  the  form  of  diamonds.  The  hair  should 
hang  loosely  over  the  shoulders,  and  about  the  head 
entwine  a  string  of  beads ;  the  head  is  slightly  turned 
to  the  young  man ;  the  eyes  directed  to  the  idol ; 
the  face  and  arms  stained  like  the  young  man's. 
The  extreme  ends  of  the  platform  are  occupied 
by  two  figures  costumed  similar  to  those  already 
described.  They  are  kneeling  at  the  feet  of  small 
pedestals  in  such  a  position  that  a  profile  view  is 
had  of  the  form.  The  pedestals  should  be  two  feet 


94  THE   TABLEAU. 

high,  and  covered  with  bright-colored  cloth.  On  one  is 
a  representation  of  the  sun,  made  by  pasting  a  sheet  of 
gold  paper  on  card-board,  and  cutting  out  rays  around 
the  edge.  On  the  other  pedestal  is  placed  a  figure  of 
the  moon,  with  the  stars  radiating  around  it.  The 
moon  can  be  made  of  card-board  and  silver  paper,  and 
the  stars  of  gold  paper  ;  these  must  be  fastened  to 
wires,  and  placed  ten  inches  from  the  top  of  the  ped- 
estals. Indian  war  clubs,  spears,  shields,  and  other 
heathen  curiosities,  should  be  placed  about  the  figures. 
The  light  for  this  scene  must  be  quite  mild,  and  come 
from  the  right  hand  side  of  the  stage.  Music  low 
and  of  a  mournful  character. 


SECOND  SCENE  OF  PAGANISM  AND  CHRISTIANITY. 

Upon  the  gospel's  sacred  page 

The  gathered  beams  of  ages  shine  ; 

And  as  it  hastens,  every  age 
But  makes  its  brightness  more  divine. 

On  mightier  wing,  in  loftier  flight, 
From  year  to  year  does  knowledge  soar, 

And  as  it  soars,  the  gospel  light 
Adds  to  its  influence  more  and  more. 

BOWSING. 

One  Male  and  Two  Female  Figures. 

The  Tableau  of  Christianity.  —  On  the  side  of  the 
platform  which  is  covered  with  white  cloth  there  should 
be  erected  a  small  pulpit.  Make  it  of  boards,  cover  it 
with  cloth,  and  paint  it  in  imitation  of  mahogany. 
A  small  red  cushion  should  be  placed  on  the  top, 
supporting  a  large  Bible,  and  on  each  side  place 


PAGANISM   AND   CHRISTIANITY.  95 

lamps,    with   glass   shades.      In   the   pulpit   stands   a 
young  man  dressed  to  represent  a  minister  of  the  gos- 
pel ;  one  hand  resting  on  the  Bible,  the  other  raised 
upward.     In  front  of  the  pulpit  place  a  small  table, 
covered  with  a  white  cloth,  on  which  set  four  silver 
goblets.     By  the  side  of  the  table  place  a  plaster  ped- 
estal, with  a  white  urn  on  the  top,  to  represent  a  font ; 
on  each  side  of  the  pulpit,  and  at  the  extreme  ends  of 
the  platform,  are  two  female  figures ;  both  are  kneeling 
by  the  side  of  small  pedestals  ;  these  can  be  made  of 
small  boxes,  covered  with  white  cloth,  and  ornamented 
with  myrtle.     The  female  figures  should  face  the  au- 
dience.    One  holds  a  large  Bible  with  the  right  hand, 
and  points  to  the  pages  with  the  left.     The  eyes  are 
cast  upward ;  the  face  expresses  meekness  and  serenity. 
The  second  figure,  at  the  other  end  of  the  platform, 
holds  a  cross  in  the  left  hand,  and  points  to  it  with  the 
right ;  the  eyes  are  raised  upward,  the  face  expressing 
pleasure.     Their  costume  consists  of  white  dresses,  cut 
low  at  the  top,  sleeves  quite  long  and  flowing,  and 
ornamented  with  white  muslin  ;  the  waist  is  encircled 
with  a  band  of  satin  ribbon ;  a  wreath  of  white  flowers 
adorns  the  head,  and  gauze  wings  are  fastened  to  the 
back  of  the  waist.     The  hair  should  be  dressed  closely 
to  the  head,  and  a  few  curls  allowed  to  hang  on  the 
shoulders.     The   length   of    the   cross   is   three   feet; 
color,  light  blue.     On   small   pedestals,  between   the 
pulpit  and    the  female    figures,  place  models    of  the 
steam    engine,    steamboat,   printing    press,   and  .tel- 
egraph.    The  tableau  of  Paganism  must  be  first  pro- 


96  THE   TABLEAU. 

duced,  after  which  the  machinery  should  slowly  re- 
volve, bringing  into  the  view  the  tableau  of  Chris- 
tianity. The  curtain  must  be  kept  up  until  both  are 
exhibited.  The  light  for  these  tableaux  should  be 
quite  brilliant,  and  issue  from  the  left  side  of  the  stage. 
Music  of  a  sacred  character. 


THE   FAIRIES'  DANCE. 

The  moon  is  full,  the  stars  are  bright, 

The  monks  are  all  asleep  ; 
Now  gayly  come  the  Fays  to-night, 

Their  revelry  to  keep. 
They  love  the  abbeys  old  and  gray, 

Whence  the  vesper  song  is  heard, 
And  the  matin  hymn  at  break  of  day 

Awakes  the  singing  bird. 

"With  waving  torch  and  tiny  shout, 

The  nimble  foot  they  ply, 
And  Fairy  laughs  are  ringing  out 

Beneath  the  midnight  sky  ;  — 
Then  mortals  hear  the  merry  peals, 

And  wonder  at  the  sound, 
So  like  the  chiming  of  harebells, 

"When  light  winds  steal  around. 

Ten  Female  and  Eight  Male  Figures. 

THIS  beautiful  tableau  is  represented  by  eight  small 
misses,  eight  small  lads,  and  two  young  and  pretty 
ladies.  The  stage  should  be  formed  so  as  to  rise 
gradually  from  the  footlights  to  the  background, 
which  can  be  done  by  using  boxes  of  various  sizes,  and 
covering  them  with  green  booking.  Twelve  of  the 


THE  FAIRIES'  DANCE.  97 

children  should  form  a  circle,  the  front  of  which  must 
be  two  feet  from  the  footlights,  the  back  extending  to 
the  other  end  of  the  stage.  They  should  clasp  each 
other  by  the  hand,  and  take  the  position  of  the  Highland 
fling;  the  right  hand  raised  above  the  head,  the  left 
placed  on  the  hip ;  the  attitudes  should  be  as  grace- 
ful as  possible.  The  expression  of  the  faces  denot- 
ing pleasure  and  mirth.  Near  the  footlights,  two 
of  the  children  should  be  seated,  looking  at  the  oth- 
ers ;  and  standing  on  pedestals  at  each  side  of  the 
stage,  near  the  front,  are  the  young  ladies.  The  ped- 
estals are  two  feet  high,  covered  with  pink  cambric, 
and  bordered  with  green  leaves  and  flowers.  The 
position  of  the  female  figures  must  be  graceful  and 
easy.  They  stand  so  as  to  show  a  profile  view  of  the 
body ;  each  holds  a  golden  wand,  which  she  extends 
out  over  the  heads  of  the  dancers.  Their  eyes  are 
fixed  on  the  movements  of  the  children,  the  left  hand 
clasps  a  stout  cord,  to  which  is  fastened  a  large 
crimson  tassel,  that  will  help  sustain  the  body  in  po- 
sition. The  costume  of  the  misses  consists  of  a  short 
white  dress,  with  short  sleeves,  the  waist  studded 
with  small  stars  and  spangles ;  the  bottom  of  the  skirt 
bound  with  light  green  ribbon,  three  inches  wide,  with 
gold  paper  fastened  to  each  edge,  and  small  pink  roses 
placed  between.  The  sleeves  are  bound  with  gold  and 
pink  ribbon  in  alternate  bands,  three  inches  wide ;  a 
small  scarf  of  white  gauze,  covered  with  spangles  and 
fringed  at  the  ends  with  gold,  encircles  the  waist. 
Flesh-colored  hose,  white  slippers,  a  wreath  of  silver 
9 


98  THE   TABLEAU. 

leaves  about  the  head.  The  hair  arranged  in  short 
curls,  and  small  gauze  wings,  ornamented  with  span- 
gles, fastened  to  the  back  of  the  waist 

The  young  lads'  costume  consists  of  a  short  coat, 
buttoned  snugly  over  the  breast,  made  of  light  pink 
cambric.  The  bottom,  the  ends  of  the  sleeves,  and 
the  collar  trimmed  with  purple  cambric,  three 
inches  in  width,  with  narrow  strips  of  gold  paper 
on  each  side ;  between  the  bands  of  gold,  insert 
small  diamond-shaped  pieces  of  gold  paper,  bordered 
with  spangles.  A  belt  made  of  the  same  ma- 
terial encircles  the  waist ;  hose  of  flesh-colored  cloth  ; 
white  slippers,  with  pink  rosette  on  the  front ;  a  small 
cap,  made  of  purple  cambric,  in  the  form  of  a  tulip,  is 
worn  on  the  head;  it  should  be  rather  low,  with  a 
stem  of  green  protruding  from  the  top,  the  edges  scal- 
loped, and  bound  with  gold  paper.  Small  gauze 
wings  are  fastened  to  the  shoulders,  which  are  orna- 
mented with  spangles  and  silver  stars.  The  young 
ladies'  costume  consists  of  a  long  white  dress,  with  a 
robe  worn  on  the  outside  of  tarleton  muslin ;  the  outer 
dress  should  have  three  wide  flounces,  the  edges  of 
which  are  to  be  trimmed  with  large  silver  leaves,  inter- 
spersed with  gilt  roses ;  these  can  be  made  from  gold 
and  silver  paper.  The  waist  must  be  cut  quite  low, 
and  decorated  in  the  same  manner ;  the  sleeves  flow- 
ing, 'and  trimmed  with  spangles  and  pink  ribbons ; 
large  gauze  wings,  decorated  with  spangles  and 
silver  tinsel,  should  be  fastened  to  the  back  of  the 
waist.  The  hair  must  be  done  up  in  a  neat  coil,  and 


BUST   OP    PRAYER.  99 

encircled  with  a  band  of  white  flowers.  Make  the 
wands  four  feet  in  length,  and  one  half  an  inch  in 
diameter  ;  cover  them  with  silver  paper,  attach  a  gilt 
heart  on  the  end.  The  light  for  this  tableau  can  be 
produced  by  a  whitish-blue  fire,  burned  at  either  side 
of  the  stage  ;  it  should  be  quite  brilliant,  and  must  be 
lighted  before  the  curtain  rises.  Music  of  a  lively 
order. 


BUST  OF   PRAYER. 

Prayer  is  the  soul's  sincere  desire, 

Utter'd  or  unexpress'd  ; 
The  motion  of  a  hidden  fire 

That  trembles  in  the  breast. 

Prayer  is  the  burden  of  a  sigh,  — 

The  falling  of  a  tear,  — 
The  upward  glancing  of  an  eye, 

When  none  but  God  is  near. 

Prayer  is  the  simplest  form  of  speech 

That  infant  lips  can  try  ; 
Prayer,  the  sublimest  strains  that  reach 

The  Majesty  on  high. 

| 

One  Female  Figure. 

THIS  beautiful  production  should  be  represented  by 
one  who  has  an  amiable  and  modest  appearing  coun- 
tenance, good  figure  and  features.  The  hair  must  be 
brushed  up  from  the  forehead,  and  fastened  behind  in 
a  black  crochet  net.  The  dress  should  be  pure  white, 
open  very  low  at  the  front  and  back.  A  cross  is  sus- 
pended from  the  neck  by  a  band  of  white  ribbon.  A 


100  THE   TABLEAU. 

heavy  white  veil  should  pass  over  the  top  and  back  of 
the  head,  aiid  be  tied  loosely  four  inches  below  the 
chin;  the  head  inclined  forward  slightly,  the  eyes 
closed,  while  the  countenance  should  appear  serene, 
pure,  and  full  of  hope;  the  arms  are  to  be  folded 
out  of  sight  upon  the  breast.  The  same  machinery, 
pedestal,  wire  basque,  crimson  curtain,  and  fairies  that 
are  used  in  the  Bust  of  Proserpine,  may  be  used  in 
this  piece.  The  light  should  be  mild,  and  come  from 
the  left  side  of  the  stage.  Music  plaintive,  and  of  a 
sacred  order. 


MORNING  WELCOMED   BY  THE   STAES. 

A  glorious  vision :  as  I  walked  in  gloom, 

The  children  of  the  sun  came  thronging  round  me, 
In  shining  robes  and  diamond-studded  shoon ; 
And  they  did  wing  me  with  them,  and  soon 

In  a  bright  dome  of  wondrous  width  I  found  me, 
Set  all  with  beautiful  eyes,  whose  wizard  rays,    — — 

Shed  on  my  soul,  in  strong  enchantment  bound  me ; 
And  so  I  looked  and  looked  with  dazzled  gaze, 

Until  my  spirit  drank  in  so  much  light 
That  I  grew,  like  the  sons  of  that  glad  place, 

Transparent,  lovely,  pure,  serene,  and  bright ; 
Then  they  did  call  me  brother ;  and  there  grew 

Swift  from  my  sides  broad  pinions  gold  and  white, 
And  with  that  happy  flock  a  brilliant  thing  I  flew ! 

TUPPEE. 

Twenty-one  Female  Figures. 

THIS  beautiful  spectacle  is  represented  by  twenty- 
one  persons.  Twenty  of  the  number  should  be  young 
misses,  of  about  six  or  eight  years  of  age,  who  will  per- 
sonate the  stars,  and  one,  a  young  and  handsome  lady, 


MOENING  WELCOMED   BY   THE   STAES.  101 

who  is  to  represent  morning.  The  sides  of  the  stage 
must  be  arranged  in  the  form  of  terraced  banks,  two 
feet  wide  at  the  bottom,  and  four  feet  wide  at  the  top ; 
they  should  be  built  from  the  footlights  to  within  three 
feet  of  the  ceiling,  covered  with  cloth,  and  painted  to 
represent  clouds.  Blue  cambric,  with  white  clouds  and 
gold  stars,  will  answer  the  purpose.  In  the  centre  of 
the  stage,  two  pieces  of  joist  must  be  placed  in  an 
inclined  position,  running  from  the  footlights  to  the 
background.  On  these  build  a  sliding  platform,  four 
feet  square,  with  a  small  seat,  one  foot  high.  This 
should  be  made  to  run  with  ease  from  the  top  to  the 
bottom  of  the  joist ;  cloth,  painted  in  imitation  of  clouds 
and  stars,  can  be  extended  across  the  space  between 
the  two  terraces  and  the  joist,  so  that  it  will  show  a 
smooth  surface.  Cover  the  moving  platform  with  cloth, 
arranged  in  drapery  style,  and  paint  in  the  same  manner 
as  the  rest  of  the  scenery.  A  back  scene  should  be 
placed  at  the  top  of  the  terraces,  leaving  a  space  of 
three  feet  between  it  and  the  back  wall ;  this  must  be 
painted  like  the  rest  of  the  scenery,  and  made  to  open 
in  the  centre,  near  the  top  of  the  joist. 

The  young  misses'  costume  consists  of  a  short  white 
dress,  decorated  with  gold  stars,  and  silver  paper  inter- 
spersed with  spangles,  white  hose  and  shoes,  hair  hang- 
ing in  curls,  and  encircled  with  a  band  of  silver  leaves, 
with  a  silver  star  on  the  forehead ;  a  light  blue  sash, 
covered  with  spangles,  tied  about  the  waist ;  and  small 
gauze  wings  fastened  to  the  back  of  the  dress.  Each 
one  should  hold  a  small  torch  ten  inches  in  length, 
9* 


102  THE   TABLEAU. 

from  which  rises  a  blue  flame ;  these  can  be  made  of 
card-board,  and  covered  with  light  blue  paper,  with 
the  ends  tipped  with  gold.  At  the  end  from  which  the 
flame  is  produced,  insert  a  strip  of  tin,  to  protect  the 
torch  from  the  flames.  The  torches  should  not  be 
lighted  until  all  the  figures  are  in  position.  The 
young  misses  take  their  position  at  each  side  of  the 
stage,  on  the  outer  edge  of  the  terrace.  They  must 
lean  forward  slightly,  and  hold  the  torch  out  from 
them.  Their  attitudes  should  be  varied;  those  near 
the  top  should  be  gazing  upward,  others  looking  down, 
and  a  few  engaged  in  conversation.  The  young  lady 
who  represents  Morning  must  be  costumed  in  a  loose 
white  robe  of  tarleton  muslin,  cut  low  at  the  top,  flow- 
ing sleeves,  skirt  covered  with  three  wide  flounces, 
trimmed  in  front  with  silver  rays  five  inches  long. 
The  waist  and  sleeves  decorated  with  silver  and  gold 
spangles,  and  a  satin  belt,  ornamented  in  like  man- 
ner, worn  about  the  waist.  The  hair  should  be 
brushed  back  from  the  forehead,  and  clasped  with  a 
band  of  silver,  and  allowed  to  hang  over  the  shoulders 
in  long  curls ;  the  head  is  adorned  with  a  band 
of  gold,  with  rays  of  silver  radiating  from  the  cen- 
tre. The  position  is,  seated  on  the  platform,  head 
slightly  inclined  to  the  left,  the  right  hand  raised 
over  the  head,  the  left  rests  on  the  waist ;  eyes  directed 
to  the  children  in  the  foreground,  countenance  ex- 
pressing pleasure.  The  goddess  Morning  will  be 
seated  on  the  platform,  behind  the  scenery. 

A  yellow  fire   must   be  burned   in  the  ante-room, 


MORNING  WELCOMED   BY  THE   STARS.  103 

and  so  shaded  that,  just  as  the  curtain  rises,  a 
small  portion  of  the  light  will  shine  on  the  centre 
of  it ;  this  light  should  increase  in  brightness  for 
a  few  seconds,  when  the  sky  in  the  background 
must  open,  and  the  goddess  glide  slowly  down  to  the 
centre  of  the  stage.  As  the  platform  moves,  the 
fire  should  increase  in  brightness ;  when  she  has 
arrived  at  the  centre  of  the  stage,  the  yellow  light 
should  be  thrown  into  the  foreground,  and  a  red  light 
thrown  into  the  background.  This  can  be  accom- 
plished by  placing  the  colored  fires  in  large  boxes  fur- 
nished with  sliding  covers  and  reflectors ;  and  by  draw- 
ing out  the  covers  gradually,  the  light  will  be  thrown 
on  to  the  picture  in  the  proper  manner.  The  cur- 
tain in  the  background  can  be  opened  by  attaching 
at  each  corner,  near  the  centre,  a  small  cord,  which 
can  be  passed  through  pulleys,  and  attended  to  in  the 
ante-rooms.  The  curtain  or  scenery  should  be  drawn 
up  on  the  back  side,  and  let  down  in  its  place  as  soon 
as  the  platform  has  passed  through.  A  small  rope, 
painted  blue,  must  be  attached  to  the  platform,  and 
pass  through  a  block  fastened  to  the  wall  of  the  stage ; 
this  can  be  tended  by  a  person  under  the  stage,  who 
will  allow  the  platform  to  move  with  exactness  to  its 
stopping  place.  If  the  light  from  the  colored  fire  is 
not  brilliant  enough,  a  few  of  the  lights  at  the  same 
side  from  whence  the  fire  is  produced  can  be  lighted. 
Music  soft  and  plaintive  at  first,  and  increasing  in 
power  at  the  finale. 


104  THE   TABLEAU. 


THE    STATUE   VASE. 

She  spoke  to  vanish,  but  the  single  ray 

Shot  from  the  unseen  moon,  still  palely  breaketh 

The  awe  that  rests  with  midnight  on  the  way  ; 

Faithful  as  Hope  when  Wisdom's  self  forsaketh  — 

The  buoyant  beam  the  lonely  man  pursued  — 
And,  feeling  God,  he  felt  not  Solitude. 

And  now,  he  enters,  with  that  lurid  tide, 

"Where  time-long  corals  shape  a  mighty  hall ; 

Three  curtain'd  arches  on  the  dexter  side, 
And  on  the  floors  a  ruby  pedestal, 

On  which  with  marble  lips,  that  life-like  smiled, 

Stood  the  fair  Statue  of  a  crowned  Child. 

BULWER'S  KINO  ARTHUR. 

One  Female  Figure. 

THIS  design  is  a  beautiful  female,  supporting  a  horn 
of  plenty,  from  which  rises  a  basket  of  intermingling 
vines  and  flowers.  The  lady  is  standing  on  a  pedestal, 
which  is  described  in  the  tableau  of  the  Italian  Flower 
Yase,  as  is  also  the  basket  which-  the  lady  supports. 
This  basket  or  bowl  of  the  vase  can  be  suspended 
from  the  centre  of  the  ceiling  by  the  means  of  wire 
hooks.  The  pedestal  must  be  placed  directly  under 
it.  The  space  between  the  top  of  the  pedestal  and  the 
bottom  of  the  basket  should  be  just  the  height  of  the 
lady  who  takes  the  part  of  the  statue  in  the  piece  ;  so 
that  when  she  is  in  position  on  the  pedestal,  the  bot- 
tom of  the  basket  will  touch  the  top  of  her  head.  The 
horn  of  plenty  can  be  made  of  cloth  ;  it  should  be  five 
inches  in  diameter  at  the  top,  three  feet  long,  and  end 
in  a  point  at  the  bottom;  it  can  be  stuffed  with 


THE  STATUE  VASE.  105 

wool,  covered  with  green  cambric,  and  decorated  with 
artificial  flowers.  It  is  to  be  attached  to  the  bottom  of 
the  basket,  pass  down  over  the  lady's  shoulder,  and 
held  in  its  position  by  the  left  arm  and  hand.  The 
lady  who  takes  this  part  should  be  of  large  and  good 
figure,  regular  features,  and  quite  pretty.  The  cos- 
tume consists  of  a  white  dress,  with  sleeves  five  inches 
long,  cut  low  at  the  neck,  skirt  made  rather  long, 
and  worn  without  many  underskirts;  a  scarf  of 
gauze  worn  over  the  shoulders,  and  tied  at  the  right 
side,  allowing  the  ends  to  trail  on  the  pedestal.  The 
hair  should  be  arranged  in  wide  braids  at  the  side  of 
the  face,  confined  at  the  back  with  a  band  of  silver, 
and  allowed  to  fall  in  short  curls  over  the  neck.  The 
position  of  the  lady  is,  standing  in  the  centre  of  the 
pedestal,  her  body  facing  the  audience,  and  head 
turned  partially  to  the  right.  The  eyes  should  be 
raised  a  trifle,  while  the  expression  of  the  face  denotes 
tranquillity  and  repose.  The  left  hand  must  grace- 
fully press  the  horn  of  plenty  against  the  side  of  the 
breast,  while  the  right  is  raised  above  the  head,  and 
touches  the  basket  as  if  to  steady  it.  The  light  for 
this  piece  should  be  of  medium  brilliancy,  and  placed 
at  the  side  opposite  to  the  face  of  the  statue.  Music 
soft  and  of  a  secular  order. 


106  THE  TABLEAU. 


SPIRIT  OF   CHIVALRY. 

Strike  the  loud  harp,  ye  minstrel  train  ! 

Pour  forth  your  loftiest  lays  ; 
Each  heart  shall  echo  to  the  strain 

Breathed  in  the  warrior's  praise. 

Bid  every  string  triumphant  swell 

Th'  inspiring  sounds  that  heroes  love  so  well. 

Chieftains,  lead  on  !  our  hearts  beat  high  — 

For  combat's  glorious  hour ; 
Soon  shall  the  red  cross  banners  fly 

On  Salem's  loftiest  tower  ! 
We  burn  to  mingle  with  the  strife, 
Where  but  to  die  insures  eternal  life. 

MBS.  HEM  ASS. 

Nine   Male  and  Five  Female   Figures. 

THIS  fine  tableau  represents  the  Spirit  or  personifica- 
tion of  Chivalry,  surrounded  by  men  of  various  pur- 
suits, religious,  military,  and  civil,  who  represent,  as 
by  an  upper  court  or  house,  the  final  acquisition  of  her 
honors  and  rewards.  Beneath,  as  not  having  obtained, 
though  within  reach  of,  the  crown,  is  a  young  knight 
who  vows  chivalric  services,  and  is  attended  by  his 
page  and  his  young  bride.  Around  him,  in  various 
attitudes,  other  figures  are  introduced,  to  connect  the 
abstract  representation  of  Chivalry  with  its  general  re- 
cognition of  intellectual  influences ;  among  them,  the 
Painter,  the  Sculptor,  and  Man  of  Science  ;  the  Palmer 
from  the  Holy  Land,  and  the  Poet-Historian,  from 
whom  future  ages  must  derive  their  knowledge  of  the 
spirit  and  deeds  of  chivalry.  The  lady  who  personates 
the  Spirit  of  Chivalry  should  be  of  good  figure  and 


SPIRIT  OP  CHIVALRY.  107 

features.  Her  costume  consists  of  a  loose  white  robe, 
cut  high  in  the  neck ;  a  mantle  of  white  tarleton  mus- 
lin is  draped  about  the  shoulders,  and  fastened  in  front 
with  a  gilt  cross ;  the  hair  is  arranged  in  bands,  falling 
low  in  the  neck,  and  encircled  with  a  small  wreath  of 
silver  leaves  or  white  flowers.  In  her  left  hand  she 
holds  a  small  wreath  of  evergreen,  which  she  extends 
towards  the  young  knight,  who  kneels  at  the  foot  of 
the  pedestal  on  which  she  stands.  Her  position  is,  on 
a  pedestal,  three  feet  high  by  two  feet  square,  which 
should  be  placed  in  the  centre  of  the  stage.  Her  body 
should  be  inclined  slightly  forward,  and  attention 
directed  to  the  knight  in  the  foreground ;  her  coun- 
tenance should  express  dignity  and  pleasure.  At  the 
back  of  the  pedestal  there  should  be  a  representation 
of  an  altar,  consisting  of  a  shaft  two  and  one  half  feet 
wide  by  three  feet  in  height,  with  a  capital  on  the  top 
one  foot  wide  by  three  and  one  half  feet  long.  This 
can  be  made  of  boards,  showing  a  smooth  surface,  and 
nailed  to  the  top  of  the  pedestal.  It  can  be  papered 
or  painted  to  represent  panels  and  scrolls.  Fourteen 
other  figures  are  grouped  around  the  pedestal,  and  as 
the  arrangement  of  the  piece  is  a  trifle  complicated, 
we  will  designate  them  in  rotation,  beginning  at  the 
foot  of  the  pedestal.  The  figures,  as  they  recede  in 
the  background,  should  be  placed  on  small  platforms, 
rising  from  one  to  three  feet  in  height.  By  arranging 
the  figures  in  this  manner,  a  perfect  view  of  each  will 
be  had  by  the  audience.  Figure  one  is  a  young  lady ; 
she  kneels  at  the  foot  of  the  pedestal  on  which  the  Spirit 


108  THE  TABLEAU. 

stands.  Costume  is,  a  white  dress,  cut  low  at  the 
waist,  encircled  with  a  satin  sash ;  hair  arranged  in 
curls.  Position  is,  sitting,  the  body  facing  the  au- 
dience, head  resting  on  the  hand,  and  thrown  back  so 
as  to  touch  the  pedestal,  and  eyes  directed  to  the  face 
of  a  harper,  who  kneels  in  front  of  her ;  the  coun- 
tenance expresses  surprise  and  admiration.  Kneeling 
on  the  floor,  nearly  in  front  of  figure  one,  is  a  young 
knight  —  we  have  almost  a  back  view  of  him,  the  head 
turned  just  enough  to  get  a  partial  profile  view  of  the 
face  ;  one  hand  clasps  a  sword,  which  he  raises  in  front 
of  the  body ;  the  other  is  lifted  above  the  head,  which 
is  thrown  back,  with  the  eyes  fixed  on  the  Spirit.  The 
armor  can  be  conveniently  composed  by  fastening  strips 
and  plates  of  bright  tin  to  a  suit  of  clothes  made  of 
black  cambric.  The  belt,  gloves,  and  boots  can  be 
gotten  up  in  the  same  manner.  This  suit  will  cost  but 
a  trifle,  and  in  the  glare  of  the  footlights  will  look 
finely.  Figure  three  is  the  palmer.  He  kneels  behind 
figure  one.  Costume  consists  of  a  dark  robe,  cowl 
made  of  black  cloth,  and  face  covered  with  a  heavy 
beard.  In  his  hands  he  holds  a  shepherd's  crook.  His 
eyes  are  directed  to  the  harper.  Figure  four  is  a  small 
girl,  who  stands  behind  figure  three,  and  holds  in  both 
hands  the  helmet  of  the  knight.  Her  costume  consists 
of  a  white  dress,  with  a  pink  sash ;  hair  done  up  to 
suit  the  taste  of  the  performer.  Her  position  is,  facing 
the  audience,  eyes  fixed  on  the  knight,  expression  of  the 
face  denoting  pleasure.  Two  other  ladies  stand  on  a 
small  platform,  outside  of  the  lady  holding  the  helmet. 


SPIRIT  OF  CHIVALRY.  109 

Their  costume  consists  of  a  white  dress,  black  velvet 
waist,  hair  arranged  in  wide  braids  at  the  side  of  the 
face  ;  one  clasps  her  hands  in  front  of  her  breast,  and 
looks  with  earnestness  at  the  knight ;  the  other  places 
an  arm  on  the  shoulder  of  her  friend,  and  looks  up 
into  her  face,  her  countenance  beaming  with  smiles. 
Behind  these  three  females,  and  standing  on  a  platform 
two  feet  high,  are  two  peasants.  They  are  dressed  in 
blue  frocks,  fastened  around  the  waist  with  black 
belts,  knee  breeches  of  colored  cloth,  white  hose,  low 
shoes,  knee  and  shoe  buckles,  white  Kossuth  hats,  en- 
circled with  a  gilt  band ;  the  face  covered  with  long, 
light  beards.  Each  holds  a  long  staff,  with  a  gilt  crook 
at  the  top.  Their  position  should  be  behind  the  altar, 
arms  folded  on  the  breast,  head  inclined  forward,  eyes 
cast  down,  and  the  expression  of  the  face  melancholy 
and  sober.  Opposite  to  the  two  figures  last  described, 
and  standing  on  a  platform  at  the  other  side  of  the 
altar,  is  a  knight  in  full  armor.  He  holds  a  large 
sword  in  front  of  his  body,  and  is  looking  straight  for- 
ward. His  costume  can  be  made  in  the  same  man- 
ner as  that  of  the  one  described  at  the  beginning  of 
the  tableau.  On  a  low  platform,  at  the  side  of  the 
Spirit,  stand  a  Sculptor  and  a  Painter.  Their  position 
is,  facing  the  knight,  who  is  kneeling  in  the  foreground. 
Their  costume  consists  of  white  jackets,  dark  pants, 
and  flat,  white  caps,  worn  jantily  on  the  side  of  the 
head.  The  Painter  holds  his  pallet  and  brushes,  the 
Sculptor  his  mallet  and  chisel ;  their  attention  is  di- 
rected to  the  figure  of  the  kneeling  knight.  Standing 
10 


110  THE   TABLEAU. 

on  the  floor,  below  the  two  figures  just  described,  is 
the  Poet-Historian.  He  faces  the  audience,  and  looks 
at  the  Harper  in  the  foreground.  He  is  dressed  in 
dark  clothes  ;  a  heavy  white  mantle  is  thrown  over  his 
shoulders,  the  ends  trailing  to  the  floor ;  on  his  head  is 
placed  a  garland  of  green  leaves.  He  holds  in  both 
hands  a  large  book,  which  should  be  bound  richly  and 
opened  in  the  centre.  Kneeling  on  the  floor  at  his 
feet,  and  facing  the  young  knight,  is  the  Harper.  He 
holds  in  his  left  hand  a  harp,  and  touches  the  strings 
with  his  right.  His  costume  consists  of  a  coat  made  of 
Turkey  cloth,  trimmed  with  black  binding  four  inches 
wide  ;  black  knee  breeches,  white  hose,  knee  and  shoe 
buckles,  and  red  shoes.  Over  the  left  shoulder  is 
carelessly  thrown  a  short  velvet  cloak,  and  on  the  head 
is  a  black  velvet  cap,  with  a  gold  band  and  plume. 
His  head  is  thrown  back,  eyes  directed  to  the  Spirit, 
while  the  countenance  should  appear  to  be  inspired. 
Kneeling  at  the  foot  of  the*  pedestal,  between  the  first 
figure  and  the  Harper,  is  the  Troubadour,  playing  on  a 
guitar ;  he  faces  the  audience  ;  his  head  is  thrown 
back,  and  his  eyes  cast  upward.  Costume  consists  of  a 
purple  coat,  trimmed  with  black  binding,  blue  breeches, 
white  hose,  low  shoes,  knee  and  shoe  buckles,  belt  con- 
taining a  small  dagger,  about  the  waist.  The  harp  can 
be  made  of  wood,  covered  with  gold  paper,  and  strung 
with  buff  cord.  The  light  for  this  piece  should  be 
produced  at  either  side  of  the  stage,  and  a  small  quan- 
tity at  the  front.  The  side  light  must  be  very  powerful. 
The  accompanying  music  should  be  of  a  brilliant  order. 


HAIDEE  AND  DON  JUAN  IN  THE  CAVE.     Ill 


HAIDEE   AND    DON  JUAN  IN  THE   CAVE. 

His  eyes  he  opened,  shut,  again  unclosed, 
For  all  was  doubt  and  dizziness;  he  thought 

He  still  was  in  the  boat,  and  had  but  dozed, 
And  felt  again  with  his  despair  o'erwrought, 

And  wished  it  death  in  which  he  had  reposed  ; 

And  then  once  more  his  feelings  back  were  brought, 

And  slowly  by  his  swiming  eyes  was  seen 

A  lovely  female  face  of  seventeen. 

'Twas  bending  close  o'er  his,  and  the  small  mouth 

Seemed  almost  prying  into  his  for  breath ; 
And,  charing  him,  the  soft,  warm  hand  of  youth 

Recalled  his  answering  spirits  back  from  death ; 
-    And,  bathing  his  chill  temples,  tried  to  soothe 

Each  pulse  to  animation,  till  beneath 
Its  gentle  touch  and  trembling  care,  a  sigh 

To  these  kind  efforts  made  a  low  reply. 

BTBON. 

One  Male  and  Two  Female  Figures. 

THIS  pleasing  tableau  is  taken  from  the  poem  of 
Don  Juan,  by  Byron.  The  scene  is  that  where  Haidee 
discovers  the  insensible  form  of  Juan  lying  at  the 
mouth  of  the  cave,  near  to  the  sea  shore.  Don  Juan 
has  been  shipwrecked  ;  his  almost  lifeless  body  has 
washed  ashore,  and  found  a  resting  place  in  a  rocky 
cave,  to  be  discovered  by  the  beautiful  Haidee  and  her 
attendant.  The  principal  work  in  this  piece  is  the 
forming  of  the  cave,  which  can  be  made  in  the  follow- 
ing manner :  The  floor  of  the  cave  should  rise  grad- 
ually from  the  front  to  the  background  ;  this  can  be  ac- 
complished by  using  boxes  of  various  sizes,  over  which 
place  brown  cambric,  with  brown  paper  attached  to  it 


112  THE   TABLEAU. 

in  a  crumpled  manner,  so  as  to  imitate  ragged  rocks, 
and  when  painted  with  light  and  brown  colors,  and 
ornamented  with  isinglass,  will  make  a  very  good  ap- 
pearance. The  floor  of  the  cave  should  extend  to 
within  "three  feet  of  the  front  of  the  stage,  and  run 
back  to  the  extreme  background.  The  space  between 
the  footlights  and  the  floor  of  the  cave  should  be  cov- 
ered with  blue  cambric,  painted  to  represent  waves  and 
surf.  Directly  behind  the  drop  curtain  there  should 
be  a  representation  of  the  roof  and  sides  of  the  cave. 
Light  frames,  covered  with  brown  paper,  similar  to  the 
floor,  and  made  very  irregular  at  the  edges,  must  be 
placed  at  each  side  of  the  stage,  and  at  the  top ;  these 
should  be  two  feet  wide,  and  of  the  height  and  width 
of  the  stage.  Two  other  sets  of  frames  should  be 
made  similar  to  the  first,  and  placed  at  equal  distances 
from  the  fore  to  the  background.  The  first  set  must 
be  three  feet  wide  ;  the  second  set  four  feet  wide.  The 
background  of  the  cave  may  also  be  covered  with 
similar  scenery.  The  idea  of  arranging  the  scenery  in 
this  manner  is  to  give  a  deep  appearance  to  the  cave. 
Isinglass  should  be  profusely  sprinkled  over  the  surface 
of  the  rocks,  and  a  few  sprigs  of  grass  fastened  to 
them  will  add  to  the  effect.  The  fastening  of  the 
brown  paper  to  the  frames  can  be  dispensed  with  if 
there  is  any  person  who  can  paint  out  the  rocks  on 
plain  canvas.  The  one  who  personates  Juan  should 
be  of  slight  figure,  fine,  regular  features,  hair  black  and 
curly,  and  small  moustache.  Costume  consists  of 
black  pants,  with  buff  or  gold  stripe  at  the  side,  white 


HAIDEE  AND  DON  JUAN  IN  THE  CAVE.     113 

shirt,  with  blue  collar,  and  gold  star  at  the  corners, 
black  belt  around  the  waist,  white  hose,  low  shoes,  with 
buckles  of  silver.  The  shirt  should  be  left  open  in 
the  neck,  so  as  to  expose  the  bosom.  A  small  wound 
can  be  imitated  on  the  side  of  the  head,  made  with 
red  paint.  Position  is,  reclining  on  the  rocks  in  the 
foreground  of  the  cave  ;  the  left  side  touches  the  rocks, 
the  head  thrown  back,  and  face  exposed  to  the  view  of 
the  audience.  The  right  hand  grasps  a  small  oar, 
while  the  left  is  stretched  out  at  his  side.  The  eyes 
are  closed,  the  feet  crossed,  and  resting  in  the  water. 
Haidee  and  her  friend  are  seen  in  the  background. 
Both  should  be  of  small  figure  and  good  features. 
Haidee  should  be  quite  pretty,  and  costumed  in  a  blue 
dress,  black  velvet  waist,  open  in  front,  and  laced 
across  with  blue  ribbons  ;  sleeves  long  and  flowing  ;  a 
small  crimson  apron,  with  bands  of  gold  at  the  bottom ; 
a  black  velvet  belt  around  the  waist,  with  a  showy  pin 
in  the  centre ;  bows  of  pink  ribbon  fastened  with  a 
small,  showy  pin  at  each  shoulder;  hair  hanging  in 
curls ;  hat  made  of  velvet,  trimmed  with  gold  bands 
and  white  feathers,  which  should  be  placed  jantily  on 
the  side  of  the  head.  Her  position  is,  standing  on  the 
rocks  in  the  back  of  the  cave,  one  hand  raised  so  as  to 
shade  her  eyes,  the  other  pointing  to  the  body  of  Juan  ; 
the  eyes  are  fixed  on  the  body,  while  the  countenance 
expresses  surprise ;  the  right  foot  must  be  placed 
twenty  inches  in  front  of  the  left,  while  the  body  is 
inclined  forward.  The  figure  back  of  Haidee  has  on  a 
costume  similar  to  that  already  described,  but  of  less 
10* 


114  THE   TABLEAU. 

showy  and  expensive  material.  She  is  standing  five  or 
six  feet  from  Haidee,  and  has  her  hands  filled  with 
shells,  which  she  has  gathered  from  the  shore.  She 
is  intently  engaged  in  looking  at  her  shells,  and  has  not 
yet  seen  Juan  ;  her  body  is  bent  forward  slightly,  the 
expression  of  the  face  denoting  curiosity  and  thought. 
The  light  for  this  piece  should  come  from  the  front  of 
the  stage,  and  must  be  quite  brilliant.  If  a  melo- 
deon  is  used  as  an  accompaniment  to  the  piece,  it 
should  be  played  to  imitate  the  roaring  of  the  ocean. 


POVERTY. 

The  sun  is  bright  and  glad,  but  not  for  me  ; 

My  heart  is  dead  to  all  but  pain  and  sorrow  ; 
No  care  nor  hope  have  I  in  all  I  see, 

Save  from  the  fear  that  I  may  starve  to-morrow. 
*         Alas,  for  you,  poor  famishing,  patient  wife, 

And  pale-faced  little  ones  !    Your  feeble  cries 
Torture  my  soul  ;  worse  than  a  blank  is  life 

Beggared  of  all  that  makes  that  life  a  prize  : 
Yet  one  thing  cheers  me,  —  is  not  life  the  door 
To  that  rich  world  where  no  one  can  be  poor  ? 

TUPPEB. 

Three  Female  and  Two  Male  Figures. 

THIS  tableau  represents  the  interior  of  one  of  the 
homes  of  the  starving  poor,  such  as  are  found  in  all 
large  towns,  where  vice  and  intemperance  go  hand  in 
hand.  To  make  the  scene  look  as  natural  as  possible,, 
a  partition  should  be  made  to  fill  up  the  back  of  the 
stage,  covered  with  cheap  room  paper.  Two  old  win- 


POVERTY.  115 

dow  sashes  should  be  inserted  in  it,  with  the  glass 
partially  broken  out,  and  filled  up  with  old  hats  and 
articles  of  clothing.  The  furniture  of  the  room 
consists  of  an  old  and  broken  table,  a  large  chest, 
three  or  four  old  and  broken  chairs,  a  few  pieces  of 
broken  crockery  on  the  table,  a  black  bottle,  a  can- 
dlestick, a  bundle  of  straw,  with  a  few  ragged  bed 
clothes,  and  a  few  cheap  prints  hanging  from  the  wall. 
The  table  is  placed  at  the  back  part  of  the  room,  and 
supports  the  crockery,  bottle,  and  candlestick.  The 
bed  is  at  the  left  side  of  the  room,  and  on  it  reclines  a 
female  dressed  in  dirty  and  ragged  clothing ;  her  hair 
hangs  loosely  over  her  shoulders ;  right  hand  sup- 
porting her  head,  and  eyes  directed  to  a  group  of 
children  in  the  foreground  of  the  picture  ;  the  face 
should  be  made  as  white  as  possible ;  a  small  quantity 
of  dark  paint  about  the  eyes  will  give  a  haggard  and 
sickly  look  to  the  features.  On  the  opposite  side  of 
the  room,  seated  on  the  old  chest,  is  the  woman's  hus- 
band. He  is  dozing  in  a  drunken  slumber ;  his  clothes 
hang  about  him  in  tatters ;  his  hat  is  partially  drawn 
down  over  his  forehead,  his  matted  hair  protruding 
through  a  hole  in  the  crown ;  face  bloated,  from  the 
effects  of  liquor.  By  the  use  of  water  colors,  the  face 
can  be  made  to  assume  the  above  description.  His 
position  is  such  that  a  partial  front  view  is  had  of  the 
body,  the  arms  hanging  carelessly  at  his  side,  feet 
crossed  and  stretched  out  on  the  floor.  Seated  at  the 
table,  and  sewing  by  the  light  of  the  candle,  is  a  young 
girl.  She  is  dressed  in  dirty  and  ragged  clothes ;  her 


116  THE   TABLEAU. 

hair  is  tied  up  in  a  rough  manner;  the  body  bent 
forward,  and  eyes  cast  down  upon  her  work ;  her  face 
should  be  made  white ;  the  eyes  slightly  shaded  with 
dark  paint,  to  give  a  haggard  look  to  the  features.  In 
the  centre  of  the  room  are  grouped  three  small  chil- 
dren ;  they  are  engaged  in  eating  crusts  of  bread  from 
a  broken  plate.  Their  costume  may  be  varied,  and 
of  cheap  material.  The  light  for  this  piece  should 
come  from  the  side  on  which  the  man  is  sitting.  The 
front  of  the  scene  must  be  quite  light,  while  the 
background  is  thrown  in  shadow.  Music  of  a  mourn- 
ful order. 


DEATH  OF   MINNEHAHA. 

O  the  long  and  dreary  "Winter  ! 

O  the  cold  and  cruel  Winter  ! 

Ever  thicker,  thicker,  thicker 

Froze  the  ice  on  lake  and  river, 

Ever  deeper,  deeper,  deeper 

Fell  the  snow  o'er  all  the  landscape, 

Fell  the  covering  snow,  and  drifted 

Through  the  forest,  round  the  village. 

O  the  famine  and  the  fever  ! 

O  the  wasting  of  the  famine  ! 

O  the  blasting  of  the  fever ! 

O  the  wailing  of  the  children ! 

O  the  anguish  of  the  women  ! 

"  Give  us  food,  or  we  must  perish  ! 

Give  me  food  for  Minnehaha, 

For  my  dying  Minnehaha !  " 

Through  the  far-resounding  forest, 
Through  the  forest  vast  and  vacant  — 
Rung  that  cry  of  desolation  ; 


DEATH   OP  MINNEHAHA.  117 

But  there  came  no  other  answer 
Than  the  echo  of  his  crying, 
Than  the  echo  of  the  woodlands, 

"  Minnehaha  !  Minnehaha !  " 
All  day  long  roved  Hiawatha 
In  that  melancholy  forest, 
Through  the  shadow  of  whose  thickets, 
In  the  pleasant  days  of  Summer, 
Of  that  ne'er  forgotten  Summer, 
He  had  brought  his  young  wife  homeward 
From  the  land  of  the  Dacotahs. 

In  the  wigwam  with  Nokomis, 
With  those  gloomy  guests,  that  watched  her, 
"With  the  Famine  and  the  Fever, 
She  was  lying,  the  Beloved, 
She  the  dying  Minnehaha. 
"  Hark  !  "  she  said ;  "  I  hear  a  rushing, 
Hear  a  roaring  and  a  rushing, 
Hear  the  Falls  of  Minnehaha 
Calling  to  me  from  a  distance !  " 
"  No,  my  child !  "  said  old  Nokomis, 
"  'T  is  the  night  wind  in  the  pine  trees !  " 
"  Look ! "  she  said ;  "  I  see  my  father 
Standing  lonely  at  his  doorway, 
Beckoning  to  me  from  his  wigwam 
In  the  land  of  the  Dacotahs  !  " 
"  No,  my  child,"  said  old  Nokomis ; 
"  'T  is  the  smoke,  that  waves  and  beckons !  " 
"Ah !  "  she  said,  "  the  eyes  of  Pauguk 
Glare  upon  me  in  the  darkness, 
I  can  feel  his  icy  fingers 
Clasping  mine  amid  the  darkness ! 
Hiawatha !  Hiawatha !  " 

And  the  desolate  Hiawatha, 
Far  away  amid  the  forest, 
Miles  away  among  the  mountains, 
Heard  that  sudden  cry  of  anguish, 
Heard  the  voice  of  Minnehaha 
Calling  to  him  in  the  darkness, 
"  Hiawatha !  Hiawatha !  " 
Over  snow-fields  waste  and  pathless, 
Under  snow-encumbered  branches, 
Homeward  hurried  Hiawatha, 
Empty-handed,  heavy-hearted ; 


118  THE   TABLEAU. 

And  he  rushed  into  the  wigwam, 
Saw  the  old  Nokomis  slowly 
Rocking  to  and  fro  and  moaning, 
Saw  his  lovely  Minnehaha 
Lying  dead  and  cold  before  him, 
And  his  bursting  heart  within  him 
Uttered  such  a  cry  of  anguish, 
That  the  forest  moaned  and  shuddered, 
That  the  very  stars  in  heaven 
Shook  and  trembled  with  his  anguish. 

LOXGFELLOW. 

One  Male  and  Two  Female  Figures. 

THIS  affecting  tableau  is  a  representation  of  the 
death  of  the  beautiful  Minnehaha.  The  scene  is  at 
the  moment  when  Hiawatha  draws  back  the  door  of 
the  wigwam,  and  there  beholds  his  lovely  Minnehaha 
lying  dead  and  cold  before  him.  The  scenery  of  this 
picture  is  the  same  that  is  used  in  the  tableau  of  Hia- 
watha and  his  Bride's  Arrival  Home.  It  is  mid- 
winter, and  the  fields  and  woods  are  covered  with 
snow ;  and  to  represent  this  scene  it  will  be  necessary 
to  cover  the  ground  with  cotton  flannel,  instead  of  the 
green  booking  which  we  used  in  the  summer  scene. 
The  trees,  wigwam,  and  vines  should  be  covered  with 
small  pieces  of  cotton  wool,  to  represent  snow.  Large 
bags,  filled  with  straw,  may  be  covered  in  the  same 
manner,  and  placed  around  the  doorway  of  the  wig- 
wam at  each  side  of  the  stage,  to  represent  snow 
banks.  Minnehaha  has  on  the  same  costume  we  have 
before  described,  and  is  reclining  on  a  bed  of  robes 
near  the  entrance  of  the  wigwam.  Her  body  shoiild 
be  propped  up  so  that  she  can  be  easily  seen.  A  dark 
robe  is  thrown  across  the  lower  portion  of  her  form, 


DEATH  OP  MINNEHAHA.  119 

a  calm,  resigned  look  is  on  the  countenance.  Her 
hands  afe  folded  on  her  breast,  eyes  closed  as  if  in 
sleep.  At  her  side,  sitting  on  a  low  seat,  is  Nokomis. 
She  wears  the  same  costume  which  is  described  in  the 
return  of  Hiawatha,  with  a  fur  robe  gathered  about 
her.  She  is  leaning  forward  towards  the  couch,  and 
presses  both  hands  against  her  face.  Her  eyes  are  cast 
down  to  the  ground,  while  grief  and  melancholy  are 
depicted  on  the  countenance.  The  dying  embers  of  a 
fire  send  up  a  curling  smoke  by  her  side.  This 
should  be  placed  in  an  iron  furnace,  and  surrounded 
by  the  imitation  snow.  Hiawatha  stands  on  one  side 
of  the  doorway,  and  is  in  the  position  of  one  running. 
He  clasps  the  door  with  his  right  hand,  and  is  in  the 
act  of  stepping  into  the  wigwam.  His  eyes  are  fixed 
on  Minnehaha;  the  left  hand  is  pressed  against  his 
forehead;  grief  and  amazement  are  depicted  on  his 
countenance.  While  the  picture  is  being  exhibited,  a 
portion  of  the  accompanying  poem  may  be  read  by 
the  announcer.  The  music  should  be  quite  soft,  and, 
of  a  plaintive  character.  The  lights  for  this  piece 
must  be  of  medium  brightness,  and  come  from  the 
side  opposite  the  door  of  the  wigwam. 


120  THE  TABLEAU. 


THE  MOTHER'S  LAST  PRAYER. 

Her  hands  were  clasped,  her  dark  eyes  raised  ; 

The  breeze  threw  back  her  hair ; 
Up  to  the  cross  she  fondly  gazed, 

And  raised  her  voice  in  prayer. 

"While  there  she  knelt  in  deep  despair 

Beside  her  own  first  born, 
And  bowing  her  deep  soul  in  prayer 

Forth  on  the  rushing  storm. 

She  wiped  the  death  damps  from  his  brow 

With  her  pale  hands  and  soft, 
Whose  touch  upon  the  lute  chords  low 

Had  stilled  his  heart  so  oft. 

ANON. 

One  Female  and  One  Male  Figure. 

THIS  tableau  represents  a  mother  and  child  kneeling 
at  the  foot  of  a  cross,  amid  the  drifting  snows  and  icy 
winds  of  the  Alpine  Mountains.  Having  lost  their 
way,  and  being  unable  to  travel  any  farther,  the  mother 
kneels  in  prayer  at  the  foot  of  one  of  the  crosses  which 
are  placed  as  landmarks  along  the  road,  to  guide  the 
traveller  on  his  journey.  The  floor  of  the  stage  should 
be  made  uneven  by  placing  boxes  of  various  sizes  at 
irregular  distances,  and  covering  them  with  white 
cotton  flannel.  A  number  of  spruce  trees  can  be 
arranged  at  the  sides  and  at  the  background,  all  of 
which  should  be  covered  with  small  particles  of  cotton 
wool ;  small  bags,  stuffed  with  hay,  and  covered  in  the 
same  manner,  must  be  placed  around  the  foot  of  the 
cross  and  at  various  parts  of  the  stage,  to  represent 
snow  banks.  A  few  handfuls  of  lint  thrown  into  the 


THE  MOTHER'S  LAST  PRAYER.  121 

air  just  as  the  curtain  rises,  will  float  about  and  appear 
like  falling  snow.  Make  the  cross  of  wood,  and  cover 
it  with  brown  paper.  It  should  be  five  feet  long  and 
two  feet  wide ;  thickness  of  frame,  six  inches.  It 
must  be  placed  in  the  centre  of  the  stage,  and 
sprinkled  with  the  imitation  snow-  The  lady  who 
represents  the  mother  should  be  of  good  figure  and 
features,  and  costumed  in  a  dark  plaid  dress,  a  white 
fur  cape  fastened  about  the  neck,  a  velvet  cloak  worn 
over  the  shoulders,  and  a  plaid  scarf  tied  about  the 
head,  the  ends  hanging  down  on  the  shoulders.  Posi- 
tion is,  at  the  foot  of  the  cross,  so  that  a  side  view  is 
had  of  the  body ;  the  head  thrown  back,  eyes  cast 
upward,  hands  clasped  and  raised  in  front  of  the  face. 
The  boy  is  dressed  in  a  dark  suit,  and  reclines  on 
the  snow  by  the  side  of  the  mother ;  his  head  rests 
on  her  dress,  arms  stretched  out  towards  her  waist ; 
his  eyes  closed  in  that  cold  and  dreamy  sleep  which 
ends  in  death.  The  light  for  this  piece  must  be 
quite  dim,  and  come  from  the  side  of  the  stage  that 
will  reflect  on  the  mother's  face.  Music,  of  a  low  and 
mournful  style,  representing  the  moaning  of  the  winds. 
11 


122  THE   TABLEAU. 


LOUIS   XVI.  AND   HIS   FAMILY. 

I  hear  thy  whisper,  and  the  warm  tears  gush 

Into  mine  eyes ;  the  quick  pulse  thrills  my  heart. 

Thou  bidd'st  the  peace,  the  reverential  hush, 
The  still  submission,  from  my  thoughts  depart. 
Dear  one,  this  must  not  be ! 

The  past  looks  on  me  from  thy  mournful  eye  ; 

The  beauty  of  our  free  and  vernal  days ; 
Our  communings  with  sea,  and  hill,  and  sky  — 

O,  take  that  bright  world  from  my  spirit-gaze. 
Thou  art  all  earth  to  me  ! 

Shut  out  the  sunshine  from  my  dying  room, 
The  jasmine's  breath,  the  murmur  of  the  bee  ; 

Let  not  the  joy  of  bird-notes  pierce  the  gloom  ; 
They  speak  of  love,  of  summer,  and  of  thee 

Too  much,  and  death  is  here ! 

AJTOK. 

Three  Female  and  Four  Male  Figures. 

ON  the  20th  of  January,  1793,  at  three  o'clock  in 
the  morning,  the  second  year  of  the  French  republic, 
the  final  vote  was  taken  by  the  Convention,  that  Louis 
XVI.  should  be  executed.  All  the  efforts  to  save  the 
king  were  now  exhausted,  and  his  fate  sealed.  The 
decree  of  the  Convention  was  sent  to  the  king,  declar- 
ing him  to  be  guilty  of  treason ;  that  he  was  con- 
demned to  death ;  that  the  appeal  to  the  people  was 
refused ;  and  that  he  was  to  be  executed  within  twenty- 
four  hours.  The  king  listened  to  the  reading  un- 
moved ;  he  conversed  earnestly  with  his  spiritual 
adviser  respecting  his  will,  which  he  read,  and  inquired 
earnestly  for  his  friends,  whose  sufferings  moved  his 
heart  deeply.  The  hour  of  seven  had  now  arrived, 


LOUIS  XVI.   AND  HIS   FAMILY.  123 

when  the  king  was  to  hold  his  last  interview  with  his 
family.  But  even  this  could  not  be  in  private.  He 
was  to  be  watched  by  his  jailers,  who  were  to  hear 
every  word  and  witness  every  gesture.  The  door 
opened,  and  the  queen,  pallid  and  woe-stricken,  en- 
tered, leading  her  son  by  the  hand.  She  threw  herself 
into  the  arms  of  her  husband,  and  silently  endeavored 
to  draw  him  towards  her  chamber.  "  No,  no,"  whis- 
pered the  king,  clasping  her  to  his  heart,  "  I  can  see 
you  only  here."  Madame  Elizabeth,  with  the  king's 
daughter,  followed.  A  scene  of  anguish  ensued  which 
neither  pen  nor  pencil  can  portray.  The  king  sat 
down,  with  the  queen  upon  his  right  hand,  his  sister 
on  his  left,  their  arms  encirling  his  neck,  and  their 
heads  resting  upon  his  breast.  The  dauphin  sat  upon 
his  father's  knee,  with  his  arm  around  his  neck.  The 
beautiful  princess,  with  dishevelled  hair,  threw  herself 
between  her  father's  knees.  An  hour  passed,  during 
which  not  an  articulate  word  was  spoken ;  but  cries, 
and  groans,  and  occasional  shrieks  of  anguish,  which 
pierced  even  the  thick  wall  of  the  Temple,  and  were 
heard  in  the  street  below,  rose  from  the  group.  For 
two  hours  the  agonizing  interview  was  continued.  As 
they  gradually  regained  some  little  composure,  in  low 
tones  they  whispered  messages  of  tenderness  and  love, 
interrupted  by  sobs,  and  kisses,  and  blinding  floods  of 
tears.  Louis  XVI.  described  his  trial,  excusing  those 
who  had  sentenced  him,  gave  some  religious  advice  to 
his  children,  enjoined  them  to  forgive  his  enemies  and 
bless  them.  A  few  beams  of  daylight  began  to  pen- 


124  THE  TABLEAU. 

etrate  the  grated  windows  of  the  gloomy  prison.  The 
hours  passed  away,  while  the  king  listened  to  the  gath- 
ering of  the  troops  in  the  court  yard  and  around  the 
Temple.  At  nine  o'clock  a  tumultuous  noise  was 
heard  of  men  ascending  the  staircase.  The  gens 
cTarmes  entered,  and  conveyed  him  to  the  carriage  at 
the  entrance.  The  morning  was  damp  and  chilly,  and 
gloomy  clouds  darkened  the  sky ;  sixty  drums  were 
beating  at  the  heads  of  the  horses,  and  an  army  of 
troops,  with  all  the  most  formidable  enginery  of  war, 
preceded,  surrounded,  and  followed  his  carriage.  They 
reached  the  Place  de  la  Revolution  at  twenty  minutes 
past  ten  o'clock.  An  immense  crowd  filled  the  place, 
above  which  towered  the  guillotine.  With  a  firm  tread 
he  ascended  the  steps  of  the  scaffold,  looked  for  a  mo- 
ment on  the  keen  and  polished  edge  of  the  axe,  and 
then,  turning  to  the  vast  throng,  said,  in  a  voice  clear 
and  untremulous,  "  People,  I  die  innocent  of  all  the 
crimes  imputed  to  me.  I  pardon  the  authors  of  my 
death,  and  pray  to  God  that  the  blood  you  are  about 
to  shed  may  not  fall  again  on  France."  The  drums 
were  ordered  to  beat,  and  Louis  XVI.  was  no  more. 

Directions  for  forming  the  Tableau.  —  This  inter- 
esting picture  contains  seven  figures:  Louis  XVI., 
his  wife  the  queen,  Madame  Elizabeth,  the  king's  son 
and  daughter,  and  two  gens  d'armes.  The  stage 
scenery  must  be  placed  in  the  following  order :  The 
background  of  the  stage  should  represent  the  granite 
walls  of  a  prison,  with  grated  windows,  massive  doors, 
to  which  are  attached  bolts,  bars,  and  heavy  locks. 


LOUIS  XVI.   AND  HIS  FAMILY.  125 

This  scenery  can  be  made  in  sections  of  about  four 
by  eight  feet  in  size.  One  section  should  represent 
the  door  of  the  cell ;  on  it  paint  the  bolts,  bars,  and 
locks.  At  the  right  of  the  stage  is  placed  a  table  of 
ancient  style ;  on  which  is  a  crucifix,  two  feet  in 
height,  a  large  Bible,  and  an  old-fashioned  candlestick, 
containing  a  lighted  candle.  A  chair  of  ancient  man- 
ufacture should  be  placed  near  the  table.  Louis  XVI. 
is  seated  in  it,  and  is  costumed  in  a  velvet  coat 
and  breeches,  white  silk  hose,  low  shoes,  buff  vest, 
white  cravat,  ruffled  bosom,  white  wig,  knee  and  shoe 
buckles.  The  queen  is  costumed  in  a  moire  antique 
dress,  of  a  showy  color,  hair  hanging  loosely  over  the 
shoulder.  Madame  Elizabeth  has  on  a  silk  robe,  dif- 
fering in  color  from  the  queen's ;  her  hair  is  loosely 
fastened  behind.  The  daughter  has  on  a  long  white 
dress,  with  velvet  waist.  The  dauphin  is  dressed  in 
velvet  jacket,  blue  breeches,  white  hose,  knee  and  shoe 
buckles,  low  slippers,  lace  collar,  ruffled  bosom  and 
wristbands,  and  a  pink  scarf  is  fastened  about  his 
waist.  The  gens  d'armes  have  blue  coats  trimmed 
with  buff,  buff  vest,  crimson  breeches,  white  hose,  long 
wigs,  low  shoes,  knee  and  shoe  buckles,  and  chapeaux. 
Each  must  be  furnished  with  a  musket,  sword,  and 
belt,  and  one  should  hold  a  bunch  of  large  keys. 
Louis  XVI.  encircles  his  daughter's  waist  with  his 
right  hand ;  his  left  is  clasped  by  his  son.  He  sits 
facing  the  audience ;  his  head  is  partially  turned 
towards  the  crucifix,  the  eyes  cast  down,  and  a  melan- 
choly look  upon  the  countenance.  The  queen  stands 
11* 


126  THE  TABLEAU. 

behind  the  king,  between  the  chair  and  table  ;  her  left 
hand  is  placed  upon  her  waist,  her  right  raised  to  her 
forehead ;  her  head  is  thrown  back,  the  eyes  partially 
closed,  and  cast  upwards,  while  intense  anguish  is  ex- 
pressed upon  her  countenance.  Madame  Elizabeth  is 
kneeling  at  the  left  of  the  king,  her  hands  clasped  and 
raised  upwards,  head  thrown  back,  and  eyes  partially 
closed.  The  daughter  is  seated  on  the  right  knee  of 
the  king ;  her  right  hand  is  placed  across  her  breast, 
the  left  hangs  carelessly  at  her  side  ;  her  head  reclines 
on  the  shoulder  of  her  father.  The  dauphin  is  kneel- 
ing between  the  king  and  Madame  Elizabeth,  and 
grasping  the  hand  of  the  king ;  his  eyes  are  fixed  on 
the  face  of  his  father,  while  the  countenance  expresses 
grief  and  sadness.  The  gens  cFarmes  stand  just  in- 
side the  door,  resting  on  their  guns ;  their  eyes  are 
fixed  upon  the  group  in  the  foreground.  The  light 
for  this  tableau  must  come  from  the  side  of  the  stage 
opposite  the  group,  and  should  be  of  medium  bright- 
ness; the  background  may  be  thrown  in  the  shade. 
Music  of  a  mournful  character. 


DRESSING  THE  BRIDE.  127 


DRESSING  THE    BRIDE. 

So,  after  bath,  the  slave  girls  brought 

The  precious  raiment  for  her  wear, 
The  misty  izar  from  Mosul, 

The  pearls  and  opals  for  her  hair, 
The  slippers  for  her  little  feet, 

(Two  radiant  crescent  moons  they  were,) 
And  lavender,  and  spikenard  sweet, 

And  attars,  nedd,  and  heavy  musk. 
When  they  had  finished  dressing  her, 
(The  Eye  of  Morn,  the  Heart's  Desire,) 

Like  one  pale  star  against  the  dusk, 
A  single  diamond  on  her  brow 

Trembled  with  its  imprisoned  fire ! 

T.  B.  ALDBICH. 

Three  Female  Figures. 

THIS  tableau  is  taken  from  the  beautiful  poem,  "  The 
Course  of  True  Love  never  did  run  smooth,"  by 
Thomas  Bailey  Aldrich,  who  describes  in  his  artistic 
style  the  bridal  toilet  of  the  princess  preparatory  to  her 
being  wedded  to  the  Vizier  Giaffer.  The  scene  repre- 
sented is  the  princess's  chamber  in  the  gorgeous  palace 
of  Haroun  Al  Raschid.  The  princess  is  seated  in  the 
centre  of  the  room  on  a  crimson  divan ;  at  her  side 
kneels  one  of  her  attendants,  who  is  engaged  in 
arranging  a  bracelet  on  her  arm.  Standing  on  the 
opposite  side  is  another  attendant,  who  is  entwining  a 
string  of  pearls  in  the  princess's  hair.  The  costume  of 
the  princess  consists  of  a  pink  satin  dress,  reaching 
within  ten  inches  of  the  feet,  and  should  be  bound 
around  the  bottom  with  silver  paper  covered  with  wide 
white  lace.  Over  this  dress  must  be  worn  a  frock  of 


128  THE  TABLEAU. 

purple  velvet  extending  to  the  knee,  with  flowing 
sleeves  reaching  to  the  elbow ;  the  front  of  the  waist 
left  open,  displaying  a  lace  under  robe,  crossed  with 
ribbons  covered  with  silver  paper  and  gold  spangles. 
The  frock  decorated  with  small  crescents  of  gold 
paper,  ornamented  with  silver  spangles.  Trim  the 
bottom  of  the  frock  and  sleeves  with  gold  paper  three 
inches  in  width,  and  cover  with  colored  lace.  The 
waist  should  be  encircled  with  a  wide,  light-green 
sash,  studded  with  spangles,  fringed  at  the  end  with 
gold  paper,  and  tied  in  front,  allowing  the  ends  to 
hang  down  to  the  bottom  of  the  frock.  A  necklace 
can  be  made  to  look  rich  and  showy  by  attaching  bril- 
liant paste  pins  of  various  sizes  to  a  black  velvet 
band ;  the  centre  pin  being  quite  large,  those  at  the 
sides  decreasing  in  size  as  they  recede  from  the  centre ; 
the  arms  and  hands  profusely  ornamented  with  jew- 
elry ;  the  hair  arranged  in  long  braids,  and  allowed  to 
fall  over  the  shoulders.  A  large  diamond  or  a  brilliant 
stone  should  be  attached  to  a  black  velvet  band,  and 
placed  on  the  brow.  Turkish  trousers,  made  of  white 
and  blue  stripes,  two  inches  wide,  of  flowing  shape, 
fastened  around  the  ankle  with  a  gilt  band.  The  shoes 
can  be  made  of  card-board  or  leather ;  they  should 
turn  up  at  the  toe  three  inches ;  cover  them  with  red 
cloth,  and  ornament  with  gold  and  silver  paper  and 
spangles.  The  costume  of  the  attendants  should  be 
of  a  similar  style,  but  differing  in  colors,  and  with- 
out decorations.  The  lady  who  personates  the  prin- 
cess must  be  small,  and  of  good  form,  fine,  regular 
features,  and  quite  pretty.  Her  position  is  facing  the 


DEESSING  THE  BRIDE.  129 

audience,  head  turned  slightly  to  the  left,  eyes  up- 
turned to  her  attendant,  who  is  standing  at  her  side, 
holding  in  her  left  hand  a  fan ;  the  expression  of  the 
face  pleasant.  The  attendant  who  is  kneeling,  shows 
a  side  view  of  the  body,  while  the  one  standing,  faces 
the  audience,  with  the  body  bent  slightly  forward,  her 
attention  directed  to  the  string  of  pearls  which  she  is 
arranging  in  the  hair  of  the  princess.  The  floor  of 
the  stage  should  be  covered  with  a  rich  Brussels  car- 
pet, and  the  walls  draped  with  showy  damask  curtains. 
The  room  may  be  furnished  with  small  ottomans,  two 
small  marble  top  tables,  one  of  which  should  be 
placed  near  the  group  of  ladies,  and  contain  stands  of 
cologne,  perfumes,  mirrors,  combs,  brushes,  pin-cush- 
ions, and  cases  of  jewelry.  On  the  other  table,  which 
is  to  be  placed  in  the  background,  is  a  large,  showy 
lamp,  with  colored  globe,  surrounded  by  ornamental 
articles ;  showy  pictures  adapted  to  the  subject,  in  rich 
gilt  frames,  adorn  the  walls ;  cages  containing  singing 
birds  should  be  suspended  from  the  ceilings;  large 
globes,  containing  gold  fish,  rest  on  the  carpet,  near 
the  foreground ;  richly  ornamented  vases,  of  various 
sizes,  containing  magnificent  bouquets,  can  be  arranged 
in  various  parts  of  the  room,  while  the  inner  corners 
are  filled  up  with  marble  or  plaster  pedestals,  sup- 
porting pieces  of  statuary ;  the  divan  on  which  the 
princess  is  seated  must  be  double  the  size  of  those 
scattered  about  the  room,  and  covered  with  striped  pink 
and  blue  cloth.  The  scene  should  be  illuminated  by  a 
purple  fire  burned  at  the  right  hand  side  of  the  stage. 
A  lively  serenade  would  be  appropriate  music. 


130  THE   TABLEAU. 


HOPE,  FAITH,  CHARITY,  AND   LOVE. 

HOPE. 

Hope  looks  beyond  the  bounds  of  time, 

When  what  we  now  deplore 
Shall  rise  in  full  immortal  prime, 

And  bloom  to  fade  no  more. 

FAITH. 

'Tis  faith  that  purifies  the  heart, 

'Tis  faith  that  works  by  love, 
That  bids  all  sinful  joys  depart, 

And  lifts  the  thoughts  above. 

CHARITY. 

O  charity,  thou  heavenly  grace, 

All  tender,  soft,  and  kind ! 
A  friend  to  all  the  human  race, 

To  all  that's  good  inclined. 

LOVE. 

Love  suffers  long  with  patient  eye, 

Nor  is  provoked  in  haste ; 
She  lets  the  present  injury  die, 

And  long  forgets  the  past. 

Four  Female  Figures. 

THE  above  characters  are  represented  as  statues. 
Four  females  of  the  same  height,  of  graceful  form  and 
fine  features,  are  required  to  form  the  group.  They 
should  all  be  costumed  in  long  white  robes,  that  will 
trail  eight  inches,  the  waist  cut  quite  low  at  the  top, 
the  sleeves  five  inches  long ;  a  wide  scarf  of  tarleton 
muslin  draped  across  the  breast,  tied  at  the  side,  and 
allowed  to  trail  with  the  dress ;  hair  confined  at  the 


HOPE,  FAITH,  CHARITY,  AND  LOVE.       131 

back  of  the  head,  and  left  to  fall  over  the  shoulders ; 
the  head  encircled  with  a  wreath  of  myrtle  and 
white  flowers.  If  any  ornaments  are  worn,  they 
should  be  pure  white.  Hoop  or  any  other  large  skirts 
must  not  be  worn,  as  it  is  necessary  to  produce  a 
slender  figure  for  a  statue  design.  The  positions  of 
.the  four  ladies  are  in  the  following  order:  Hope 
stands  at  the  right  hand  side  of  the  stage,  one 
foot  from  the  drop  curtain  ;  Love  at  the  left  hand 
side,  the  same  distance  from  the  curtain ;  Faith  and 
Charity  at  equal  distances  from  Love  and  Hope,  and 
three  feet  from  the  drop  curtain.  Placed  in  this  man- 
ner, they  will  form  a  half  oval.  The  stage  furniture 
consists  of  four  small  pedestals,  twenty-four  inches 
square,  with  a  cap  and  base  extending  out  two 
inches,  covered  with  white  cloth,  and  ornamented 
in  front  with  a  small  wreath  of  myrtle.  Faith  takes 
her  position  on  the  top  of  one  of  the  pedestals. 
Her  emblem  is  the  cross,  which  she  holds  in  her  right 
hand  ;  the  left  is  raised  and  points  upward ;  the  eyes 
are  raised  upward,  the  countenance  expresses  meek- 
ness. Hope  is  poised  on  a  pedestal,  and  holds  an 
anchor,  the  foot  of  which  rests  on  the  top  of  the 
pedestal ;  the  right  hand  is  placed  on  the  anchor, 
the  left  is  on  the  breast ;  the  eyes  are  raised  slightly, 
countenance  expressing  serenity  and  hope.  Charity 
comes  next.  In  her  right  hand  she  holds  a  silver 
dish,  which  is  filled  with  crumbs  of  white  bread.  Two 
robins  stand  on  the  side  of  the  dish,  eating  the  crumbs. 
The  left  hand  rests  on  the  side  of  the  body ;  the  eyes 


132  THE   TABLEAU. 

are  directed  to  the  birds  ;  the  face  beams  with  smiles. 
Love  is  standing  on  one  of  the  pedestals,  holding  in  her 
right  hand  a  torch,  which  is  raised  above  her  head, 
while  the  left  gracefully  holds  the  side  of  her  dress. 
The  head  should  be  turned  slightly  aside,  the  eyes 
looking  straight  forward  ;  countenance  diffused  with 
smiles.  A  gauze  curtain  may  be  suspended  before 
the  statues,  covering  the  entire  space  inside  of  the 
frame.  The  light  for  this  scene  should  be  of  medium 
brilliancy,  and  come  from  the  front  of  the  stage.  The 
cross  and  anchor  may  be  painted  black,  the  torch 
painted  blue,  and  tipped  with  gold  ;  the  flame  carved 
in  wood,  and  gilded.  Stuffed  birds  can  be  fastened 
with  wire  springs,  and  attached  to  the  silver  dish. 
Music  soft  and  plaintive. 


THE  DEATH  OF   GENERAL  WAEEEN. 

Thou  rising  sun,  thou  blue  rejoicing  sky, 
Yea,  every  thing  that  is  and  will  be  free, 
Bear  witness  for  me,  wheresoe'er  ye  be, 
With  what  deep  worship  I  have  still  adored 
The  spirit  of  divinest  Liberty. 

COLEBIDQE. 

Twenty-five  Male  Figures. 

THIS  magnificent  tableau  represents  the  scene  so 
well  known  in  the  early  history  of  our  country,  and 
contains  twenty-five  figures,  thirteen  of  which  should 
be  dressed  in  crimson  uniform,  to  personate  the  British 


THE  DEATH  OP  GENERAL  WARREN.  133 

soldiers,  six  in  continental  costume,  three  in  coarse 
homespun  suits,  three  in  sailor's  costume.  The  stage 
must  be  formed  to  represent  a  hill,  which  can  be  done 
by  using  boxes  and  boards,  and  covering  them  with 
green  cloth.  The  hill  should  rise  from  the  footlights 
to  within  four  feet  of  the  ceiling  in  the  background. 
The  first  and  principal  figure  is  General  Warren.  He 
is  lying  on  the  ground,  a  few  feet  from  the  foot  of  the 
hill,  supported  by  one  of  his  officers,  who  holds  his  head 
with  his  right  hand,  while  with  the  left  he  grasps  the 
musket  of  a  British  soldier,  which  is  pointed  at  the 
breast  of  Warren.  Warren's  position  is,  facing  the 
audience,  eyes  closed,  arms  hanging  carelessly  at  his 
side ;  costume,  continental ;  side  arms,  sash,  sword, 
and  chapeau  lying  in  front  of  the  body.  The  figure 
who  supports  Warren  is  dressed  in  blue  breeches,  white 
hose,  white  shirt,  and  black  belt.  Position,  kneeling 
back  of  Warren,  his  eyes  fixed  on  the  soldier  who 
stands  a  few  paces  back  of  Warren's  feet.  This  soldier 
leans  forward  slightly,  and  grasps  a  musket,  in  which 
is  a  bayonet,  which  he  is  about  to  plunge  into  Warren's 
body.  His  eyes  are  fixed  on  the  prostrate  form  before 
him,  while  the  countenance  expresses  excitement  and 
rage.  Costume  consists  of  a  red  coat,  white  breeches 
and  hose,  low  shoes,  knee  and  shoe  buckles,  white 
breast  belts,  black  waist  belt,  and  black  military  hat, 
with  plume.  By  the  side  of  the  soldier,  near  the  front 
of  the  stage,  stands  an  officer,  who  is  leading  on  the 
British.  He  holds  a  sword  on  his  right  shoulder,  while 
the  left  grasps  the  butt  of  the  musket  of  the  soldier 
12 


134  THE   TABLEAU. 

previously  described.  His  body  is  bent  forward,  feet 
separated  thirty  inches,  eyes  fixed  on  Warren,  coun- 
tenance expressing  energy  and  decision.  Costume 
consists  of  a  crimson  coat,  decorated  with  gold  ep- 
aulets and  lace,  white  silk  hose,  buff  breeches,  low 
shoes,  knee  and  shoe  buckles,  red  sash,  side  arms,  and 
chapeau.  Directly  behind  the  figure  who  supports 
Warren  stands  an  American  soldier,  with  a  musket 
held  in  front  of  his  body,  which  he  points  towards  the 
British  soldier,  who  is  about  to  pierce  the  body  of 
Warren.  His  body  is  slightly  bent  backward,  eyes 
fixed  on  the  soldier,  countenance  expressing  fear. 
The  remaining  figures  should  be  placed  in  the  space 
from  the  top  of  the  hill  down  to  the  group  we  have 
described  ;  a  few  should  be  fencing ;  some  using  their 
muskets  as  clubs ;  others  firing  at  the  enemy  in  the 
distance ;  while  a  few  are  stretched  out  in  death  on  the 
ground.  They  must  be  placed  in  as  great  a  variety 
of  positions  as  possible,  and  in  such  a  manner  that  one 
figure  will  not  obscure  the  other.  The  countenances 
of  all  should  appear  excited.  The  booming  of  cannon 
and  roll  of  the  drum  can  be  produced  behind  the 
scenes.  The  picture  should  be  illuminated  by  a  bril- 
liant red  fire  burned  at  the  side  of  the  stage. 


PORTRAIT  OP  PRINCE  ALBERT.  135 


PORTRAIT  OF   PRINCE   ALBERT. 

One  Male  Figure. 

THIS  tableau  is  produced  in  the  same  manner  as  the 
Madonna.  The  gentleman  who  personates  Prince  Al- 
bert should,  in  general  outline  of  features  and  form, 
resemble  the  original  as  much  as  possible.  The  cos- 
tume consists  of  a  crimson  coat  richly  trimmed  with 
gold  lace,  and  heavy  decorations  in  silver  on  the  left 
breast,  gold  epaulets,  a  richly  ornamented  sword  and 
belt,  buff  vest  trimmed  with  gold  lace,  buff  breeches, 
top  boots  trimmed  at  the  top  with  gold  binding,  a  red 
sash,  and  black  chapeau.  The  position  must  be  so 
that  a  partial  front  view  can  be  had  of  the  body  ;  eyes 
directed  straight  forward.  The  light  should  be  of  me- 
dium quantity,  and  come  from  the  front  of  the  stage. 
Music  of  a  national  order. 


136  THE  TABLEAU. 


THE  RETURN  OF  THE  PRODIGAL  SON. 

O  !  thou  hast  wander'd  long 

From  thy  home  without  a  guide ; 
And  thy  native  woodland  song, 

In  thine  altered  heart  hath  died. 

Thou  hast  flung  the  wealth  away, 

And  the  glory  of  thy  Spring ; 
And  to  thee  the  leaves'  light  play 

Is  a  long-forgotten  thing. 

Still  at  thy  father's  board 

There  is  kept  a  place  for  thee; 
And,  by  thy  smile  restored, 

Joy  round  the  hearth  shall  be. 

MBS.  IIEMAKS. 

Four  Male  Figures. 

THIS  scene,  so  familiar  in  Scripture  history,  rep- 
resents the  father  standing  on  the  step  of  his  mansion, 
about  to  embrace  his  son,  who  stands  near.  The  back- 
ground of  the  picture  should  represent  the  portico  of  a 
house,  and  can  be  made  in  the  following  manner : 
Procure  at  a  paper  store  four  fresco  pilasters,  with  caps 
and  bases,  and  a  wide  cornice  to  match  ;  also  a  roll  of 
granite  paper ;  paste  the  cornice  and  pilasters  on  cloth ; 
fasten  the  cornice  across  the  ceiling  of  the  stage,  five 
feet  from  the  background,  and  suspend  the  pilasters 
from  the  lower  edge,  placing  them  at  equal  distances 
from  each  other ;  form  the  steps  out  of  boxes  and 
boards,  and  cover  them  with  the  granite  paper.  At 
each  side  of  the  steps  place  a  large  vase  of  flowers. 
Behind  the  pilasters,  at  the  end  of  the  upper  step,  are 
seen  two  servants.  They  are  stooping  down  and  look. 


THE  RETURN  OP  THE  PRODIGAL  SON.      137 

ing  at  the  group  in  the  foreground.  Their  costume  can 
be  easily  made  up.  Frock  coats,  trimmed  on  the  bot- 
tom of  the  skirts,  cuffs,  and  front  with  colored  cloth, 
five  inches  wide ;  white  pants,  black  hose,  crossed  with 
red  binding ;  low  shoes ;  knee  and  shoe  buckles ; 
low-crowned,  black  Kossuth  hat,  encircled  with  a 
band  of  gold,  and  ornamented  in  front  with  a  large 
paste  pin  and  showy  plume.  The  gentleman  who 
represents  the  father  must  be  of  good  height  and 
large  figure.  His  costume  consists  of  a  purple  velvet 
coat  and  breeches,  white  hose,  crossed  with  black  rib- 
bons, low  shoes,  knee  and  shoe  buckles ;  over  the  shoul- 
ders is  thrown  a  long  cloak,  trimmed  with  ermine ; 
hair  and  beard  quite  long,  which  can  be  imitated 
with  flax,  glued  to  cloth  made  to  fit  the  head  and 
face.  If  dresses  cannot  be  procured  at  a  costumer's, 
cheap  material  can  be  made  up  for  the  occasion, 
and  will  look  quite  pretty.  A  blue  circular  cloak, 
or  a  lady's  velvet  cape,  trimmed  with  white  cotton 
flannel,  two  inches  wide,  with  small  pieces  of  black 
shag  fastened  on  at  intervals  of  five  inches,  will  look 
well,  and  will  resemble  ermine.  The  breeches  can  be 
made  of  purple  cambric,  trimmed  with  gold  paper.  A 
blue  dress  coat,  trimmed  with  gold  paper,  and  covered 
with  white  lace,  will  answer  for  an  under-coat.  The 
father's  position  is,  standing  on  the  second  step  of  the 
portico,  with  both  hands  extended,  body  bending  for- 
ward slightly,  eyes  fixed  on  the  son,  "countenance  ex- 
pressing joy  and  happiness.  The  son  stands  at  the  foot 
of  the  steps,  leaning  on  a  stout  branch  of  a  tree,  which 
12* 


138  THE  TABLEAU. 

he  has  been  using  for  a  cane  on  his  journey.  He  dis- 
plays a  side  view  of  the  body,  and  is  costumed  in  a 
coarse  brown  frock,  open  in  the  neck,  displaying  his 
neck  and  bosoni,  and  tied  around  the  waist  with  a  piece 
of  rope  ;  large  rents  should  be  made  in  the  sleeves, 
showing  the  flesh  within  ;  knee  breeches  of  coarse  ma- 
terial, torn  at  the  side  ;  brown  hose  ;  and  shoes,  which 
are  almost  worn  out,  and  are  tied  to  the  foot  with 
strings  ;  hair  hanging  over  the  forehead  ;  skin  colored 
light  brown  ;  his  eyes  cast  down  to  the  ground,  and 
countenance  melancholy.  The  light  must  be  quite 
brilliant,  and  come  from  the  side  opposite  to  the 
servants.  Music  animating. 


SINGLE   BLESSEDNESS. 

Close  by  his  lonely  hearth  he  sate, 

While  shadows  of  a  welcome  dream 
Passed  o'er  his  heart  ;  disconsolate 

His  home  did  seem  ; 
Comfort  in  vain  was  spread  around, 
For  something  still  was  wanting  found. 

One  Male  Figure. 

THIS  tableau  is  a  representation  of  a  young  bachelor 
seated  alone  in  his  chamber.  He  has  around  him  all 
the  luxuries  that  wealth  will  purchase,  and  is  reclining 
on  a  low  sofa,  quietly  smoking  his  meerschaum.  Kich 
furniture,  soft  carpets,  fine  pictures,  and  gorgeous  cur- 
tains decorate  the  apartment.  Books,  statuary,  boxing 


SINGLE  BLESSEDNESS.  139 

gloves,  fencing  swords,  fowling  pieces,  pipes  of  various 
patterns,  and  a  countless  multitude  of  other  articles,  are 
scattered  about  the  room.  On  the  marble  table  at  his 
side  is  a  bunch  of  cigars,  a  paper  of  Ma'am  Miller's 
fine-cut  tobacco,  a  decanter  of  wine,  and  a  pair  of  gob- 
lets, one  of  which  is  partially  filled  with  wine.  He 
holds  in  his  left  hand  his  meerschaum ;  his  right  hangs 
carelessly  at  his  side,  and  grasps  a  novelette.  The 
gentleman  who  personates  the  bachelor  must  be  of 
good  figure  and  features,  and  is  costumed  in  the  fol- 
lowing manner :  A  rich  dressing-gown  should  be  worn, 
which  is  thrown  back  from  the  breast,  showing  a  vest 
of  bright  colors,  to  which  is  attached  a  heavy  gold 
chain  and  seals ;  light  fancy  pants,  embroidered  slip- 
pers, white  hose,  blue  cravat,  smoking  cap,  ruffled 
bosom  and  wristbands.  Countenance  sober,  eyes 
raised  to  one  of  the  engravings  on  the  wall.  Light  of 
medium  brightness,  which  may  come  from  either  side 
of  the  stage.  Music  of  operatic  style. 


140  THE   TABLEAU. 


MARRIAGE   BLISS. 

It  is  most  genial  to  a  soul  refined, 
When  love  can  smile  unblushing,  unconcealed, 

"When  mutual  thoughts,  and  words,  and  acts  are  kind, 
And  inmost  hopes  and  feelings  are  revealed, 

When  interest,  duty,  trust,  together  bind, 
And  the  heart's  deep  affections  are  unsealed, 

When  for  each  other  live  the  kindred  pair,  — 

Here  is  indeed  a  picture  passing  fair ! 

TCPPIiR. 

One  Male  and  Two  Female  Figures. 

THIS  tableau  represents  a  home  scene.  A  wife  and 
husband,  and  a  young  child,  are  seated  at  a  table  in  a 
snug  little  parlor.  A  solar  lamp  is  burning  on  the 
table,  by  the  light  of  which  the  wife  is  engaged  in  fin- 
ishing a  piece  of  embroidery.  The  husband  is  reclin- 
ing in  a  spacious  easy  chair,  busily  occupied  in  perus- 
ing the  evening  paper.  The  little  girl  is  at  play  with 
her  tea  sets  and  paper  dolls.  The  wife  is  costumed  in 
a  blue  silk  dress,  cut  low  at  the  top,  a  white  apron, 
trimmed  with  pink  ribbon,  and  hair  arranged  to  suit 
the  performer's  taste.  She  should  be  quite  pretty,  and 
of  small  figure.  She  is  seated  at  the  right  of  the 
table,  facing  the  audience,  body  bent  forward,  and 
eyes  fixed  on  her  work,  the  countenance  expressing 
earnestness.  The  husband  is  costumed  in  light  pants 
and  vest,  dressing  gown  and  slippers.  He  is  seated 
at  the  left  of  the  table,  showing  a  partial  front 
view  of  the  body ;  his  feet  rest  on  a  small  ottoman ; 


THE  SLEEPING  MAIDEN.  141 

paper  held  in  such  a  position  that  it  will  not  hide  his 
body  ;  eyes  fixed  on  the  paper,  countenance  placid. 
The  child  is  costumed  in  white  dress,  trimmed  with 
blue  ribbon,  and  is  seated  at  the  back  of  the  table, 
holding  in  her  hands  a  paper  doll,  which  she  extends 
towards  her  mother,  for  her  to  look  at.  Her  eyes  are 
directed  to  her  mother,  her  countenance  beaming  with 
smiles.  The  table  should  be  covered  with  a  crimson 
cloth.  The  furniture  of  the  room  of  good  quality, 
the  floor  carpeted,  walls  hung  with  curtains  and  pic- 
tures. Light  of  medium  quantity,  which  may  come 
from  either  side  of  the  stage.  Music  soft  and  plaintive. 


THE   SLEEPING  MAIDEN. 

Witness  this  primrose  bank  whereon  I  lie  ; 

These  forceless  flowers  like  sturdy  trees  support  me, 
Two  strengthless  doves  will  draw  me  through  the  sky, 

From  morn  to  night,  even  where  I  list,  to  sport  me. 

SHAKSPEARE. 

One  Female  Figure. 

THIS  exquisite  tableau  represents  a  magnificent  gar- 
den, filled  with  beautiful  flowers,  trellised  vines,  vases, 
statuary,  and  sparkling  fountains.  On  a  grassy  mound, 
in  the  centre  of  this  lovely  scene,  reclines  a  beautiful 
maiden,  wrapped  in  profound  sleep.  The  right  hand 
supports  her  head,  the  elbow  resting  on  the  grass  ;  the 
left  is  thrown  carelessly  over  the  top  of  the  head  ;  the 
expression  of  the  face  calm  and  dreamy.  Her  costume 


142  THE  TABLEAU. 

consists  of  a  long  white  dress,  cut  low  at  the  top, 
open  in  front,  displaying  a  pink  under-skirt  of  silk. 
The  edges  of  the  dress  on  each  side  of  the  under-skirt 
should  be  trimmed  with  gold  paper,  covered  with  white 
lace.  A  belt  of  the  same  encircles  the  waist.  The 
waist  must  be  open  in  front,  exposing  a  white  lace 
under-robe,  which  is  crossed  with  golden  cords.  Short 
sleeves,  open  below,  and  closed  by  little  cords  of  gold, 
terminated  by  tassels  of  the  same  material,  which  fall 
down  upon  the  arms.  The  hair  arranged  in  heavy 
braids,  done  up  low  in  the  neck,  and  ornamented 
with  a  head  dress,  formed  of  silver  gauze,  adorned  with 
slight  bands  of  gold  thread  falling  on  the  shoulder. 
Position  is,  facing  the  audience,  the  body  extended  on 
a  line  with  the  front  and  back  corners  of  the  stage. 
The  floor  of  the  stage  must  be  formed  to  represent 
a  number  of  terraced  banks.  There  should  be  five, 
each  being  one  foot  in  height.  A  few  boxes  and 
stout  boards  will  be  needed  to  form  the  banks,  over 
which  place  green  booking.  If  a  piece  of  scenery 
cannot  be  procured  for  the  background,  it  can  be 
covered  with  light-green  cambric,  and  festooned  with 
dark  evergreens  and  bright  flowers.  At  each  of  the 
inner  corners  of  the  stage  place  a  white  pedestal, 
two  feet  in  height.  A  box  of  the  above  dimensions, 
covered  with  white  cloth,  will  answer.  On  these  place 
pieces  of  large  statuary,  and  between  the  two  place  a 
large  vase  of  flowers,  and  intersperse  smaller  vases, 
containing  bouquets.  Ornament  the  second  terrace 
with  pots  of  house  plants,  and  at  each  end  place  a 


THE  SLEEPING  MAIDEN.  143 

showy  cage  of  birds.  Decorate  the  third  terrace  with 
rich  vases  of  artificial  flowers,  with  a  statue  of  the 
fisher  boy  at  each  end.  In  the  centre  of  this  terrace, 
the  mound  on  which  the  maiden  reclines  is  placed.  It 
should  be  five  feet  in  diameter,  and  one  foot  high. 
Cover  the  surface  with  light-green  cambric,  and  dec- 
orate the  outer  edge  with  large  sea  shells.  On  the 
fourth  terrace  arrange  small  pots  of  house  plants  that 
are  in  bloom,  and  at  each  end  place  large  vases  of 
fruit.  On  the  fifth  and  last  terrace  place  a  row  of 
deep  glass  dishes,  filled  with  flowers,  with  a.  plaster 
figure  of  Flora  at  the  ends.  Festoon  the  sides  of  the 
scenery  and  the  ceiling  with  spruce  and  flowers.  The 
scenery  in  the  background,  if  it  can  be  easily  painted, 
should  represent  figures  similar  to  those  on  the  stage, 
interspersed  with  fountains.  If  there  is  sufficient 
room  for  the  accommodation  and  preservation  of  large 
mirrors,  they  can  be  used  to  advantage  by  placing 
them  at  the  background  of  the  stage,  which  will  give  a 
fine  effect  to  the  scene.  This  tableau  must  be  lighted 
from  the  left  side  of  the  stage ;  the  light  being  very 
brilliant,  both  at  the  top  and  bottom.  A  green  fire 
burned  just  as  the  curtain  falls,  will  add  much  to  the 
beauty  of  the  picture.  Music  accompanying  the  piece, 
soft,  and  of  a  lively  order. 


144  THE   TABLEAU. 


NIGHT  AND   DAY. 

Heaven  opened  wide 

Her  ever-during  gates  —  harmonious  sound  — 
On  golden  hinges  morning  to  let  forth, 
The  king  of  glory,  in  his  powerful  word 
And  spirit,  coming  to  create  new  worlds. 

God  saw  the  light  was  good, 
Ajid  light  from  darkness,  by  the  hemisphere, 
Divided ;  light  the  day,  and  darkness  night 
He  named.    Thus  was  the  first  day,  even  and  morn. 

MlLTOJT. 

Two  Female  Figures. 

THIS  simple  tableau  is  represented  by  two  females : 
one  personates  Day,  and  is  costumed  in  a  long  white 
robe.  The  other  represents  Night,  and  is  dressed  in 
black.  Two  arches  should  be  made  in  the  centre  of 
the  stage,  one  covered  with  black  cloth,  the  other  with 
white.  They  must  be  five  feet  in  height,  three  feet 
in  width,  and  three  feet  deep  ;  the  back,  sides,  and  top 
covered  with  cloth.  They  are  to  be  placed  on  a  plat- 
form one  foot  high  and  six  feet  square.  The  lady  who 
personates  Night  should  be  of  good  figure  and  features, 
black  hair,  and  dark  complexion.  She  kneels  under 
the  arch  covered  with  black  cloth,  and  faces  the  audi- 
ence ;  the  right  knee  touches  the  platform,  hands  placed 
together  and  raised  front  of  the  breast,  head  slightly 
inclined  back,  eyes  raised  upward,  the  countenance  in 
repose.  Her  costume  consists  of  a  black  silk  dress,  low 
neck,  and  trimmed  with  wide  black  lace  and  bugles  ;  a 
scarf  of  black  crape,  sprinkled  with  small  silver  stars,  is 
draped  across  the  breast,  a  black  cross  suspended  from 


THE   FIEEMEN  IN  REPOSE.  145 

the  neck  by  a  velvet  ribbon  ;  black  bracelets  ornament 
the  arms  ;  and  a  wreath  of  black  bugles  and  beads 
encircles  the  head,  on  the  front  of  which  is  placed  a 
small  silver  moon.  The  hair  is  arranged  in  wide,  heavy 
bands,  at  the  side  and  back  of  the  head.  The  lady  who 
personates  Day  should  be  of  good  figure  and  features, 
clear  light  complexion,  and  light  hair.  Her  position 
is,  kneeling  under  the  white  arch,  hands  crossed  on 
her  breast,  eyes  slightly  cast  upward,  and  a  smile 
on  the  countenance.  Costume  consists  of  a  pure 
white  dress,  cut  low  at  the  neck,  short  sleeves  ;  waist 
and  bottom  of  sleeves  trimmed  with  wide  lace  and  sil- 
ver spangles  ;  a  scarf  of  white  tarleton  muslin  draped 
across  the  breast  ;  the  waist  encircled  with  a  satin  sash, 
and  the  head  crowned  with  a  wreath  of  pearls,  in  the 
front  of  which  place  a  small  gold  sun.  The  hair 
can  be  arranged  in  ringlets,  or  brushed  back  from 
the  forehead,  and  confined  in  a  silk  net.  The  light  for 
this  piece  must  come  from  the  front  of  the  stage,  and 
should  be  of  medium  brilliancy.  Music  soft  and 
plaintive. 


THE   FIREMEN  IN   REPOSE. 

Ten  Male  Figures. 

THIS  tableau  is  a  representation  of  the  interior  of  a 
firemen's  hall.     The  walls  are  hung  with  engravings  in 
rich  frames,  most  of  them  referring  to  the  fireman's 
13 


146  THE   TABLEAU. 

life.  The  name  of  the  company,  in  large  gilt  letters, 
is  placed  at  the  end  of  the  stage.  Settees  arc  arranged 
around  the  sides  ;  a  mahogany  table  is  in.  the  centre, 
on  which  is  placed  a  large  solar  lamp.  Seated  at  the 
table  are  half  a  dozen  firemen,  dressed  in  their  uni- 
form ;  these  are  engaged  in  reading  the  news  of  the 
day  ;  others  are  reclining  and  sitting  on  the  settees, 
engaged  in  conversation  and  smoking.  The  light  for 
the  piece  should  be  of  medium  brightness,  and  come 
from  either  side  of  the  stage.  Music  of  a  secular 
character. 


THE   ALARM. 

"Prompt  when  duty  calls." 
Twelve  Male  Figures. 

THIS  tableau  is  a  representation  of  an  alarm  of  fire, 
which  has  aroused  the  firemen  from  their  repose.  The 
scene  represents  a  view  of  the  front  of  the  engine 
house.  The  door  is  thrown  open,  and  the  enginemen 
are  about  to  draw  out  their  machine.  The  piece  con- 
tains twelve  figures,  ten  of  which  have  hold  of  the 
engine  rope.  They  are  in  the  position  of  persons  run- 
ning, and  are  led  on  by  their  captain,  who  is  giving  out 
an  order  through  his  trumpet.  His  position  is.  facing 
the  men  at  the  ropes  ;  one  hand  is  pointed  towards  the 
fire,  the  light  of  which  is  seen  in  the  distance.  Near 
the  door  of  the  engine  house  stands  the  lantern  bearer 


AT   THE   FIRE.  147 

with  his  lantern,  which  is  attached  to  a  long  pole,  and 
is  carried  on  the  right  shoulder.  The  front  of  the 
engine  house  can  be  formed  of  wood,  covered  with 
cloth,  and  painted  in  showy  colors.  This  frame  is  to 
be  placed  at  the  right  hand  corner  of  the  background  ; 
the  name  and  number  of  the  machine  painted  over  the 
door.  The  front  wheels  and  rope  will  be  sufficient  to 
represent  the  engine.  The  remaining  part  is  presumed 
to  be  within  the  house.  By  placing  the  front  of  the 
house  in  the  corner,  more  room  will  be  had  for  the 
line  of  firemen.  All  should  appear  animated,  while  a 
few  are  pointing  to  the  light  in  the  distance.  The 
alarm  bells  must  be  sounded  while  the  curtain  is 
raised,  and  a  red  fire  burned  at  the  left  side  of  the 
stage,  so  as  to  throw  a  very  little  light  on  the  extreme 
edge  of  the  background,  which  should  extend  farther 
in  on  the  scene  while  the  tableau  is  exhibited. 


AT  THE   FIRE. 

"  Fire  was  raging,  above  and  below." 
One  Female  and  Thirteen  Male  Figures. 

THIS  tableau  is  a  representation  of  a  dwelling  house 
on  fire,  with  the  heroic  firemen  engaged  in  their  va- 
rious duties  in  their  attempts  to  extinguish  the  flames. 
A  front  view  of  the  building  is  exhibited,  from  which 
smoke  and  flames  are  seen  issuing.  At  the  window  of 
the  second  story,  a  fireman  stands,  with  an  infant  in 


148  THE   TABLEAU. 

his  arms.  A  ladder  is  placed  against  the  outside  of 
the  window,  and  a  fireman  is  ascending  it.  The 
engineer  stands  on  the  steps  of  the  mansion,  giving  his 
orders.  A  fireman  is  breaking  in  one  of  the  lower 
windows  with  an  axe.  At  the  left  of  the  tableau  is 
seen  part  of  the  engine.  Space  will  not  allow  the 
showing  of  more  than  one  third  of  the  machine ;  but 
by  manufacturing  a  temporary  frame,  on  which  the 
front  wheels,  brakes,  bell,  and  buckets  can  be  attached, 
and  placing  it  at  the  edge  of  the  stage,  with  the 
firemen  at  the  brakes,  the  effect  will  be  quite  suffi- 
cient. The  men  on  the  front  brakes  should  be  in  a 
stooping  position,  those  behind  standing  erect.  Two 
pipe-men  are  seen  in  the  foreground,  with  pipes,  which 
they  point  to  the  burning  building ;  others  are  passing 
out  articles  of  furniture  from  the  windows.  The  men 
must  be  costumed  in  showy  fire  suits.  Alarm  bells 
should  be  sounded  behind  the  scenes,  and  a  repre- 
sentation of  fire  made  by  burning  a  red  fire  at  the 
side  of  the  stage,  behind  the  scenery  of  the  burning 
house.  This  scenery  can  be  formed  of  light  slats  of 
wood,  covered  with  cloth,  and  painted  in  imitation  of 
a  brick  house,  with  mouldings,  window  frames,  and 
doors.  It  must  extend  across  the  stage,  and  rise  from 
the  floor  to  the  ceiling.  The  windows  should  be 
filled  with  sashes  containing  genuine  glass,  while  smoke 
and  flames  can  be  painted  on  various  parts  of  the 
building ;  and,  if  desirable,  a  small  quantity  of  wet 
gunpowder,  touched  off  at  the  proper  moment,  will 
add  to  the  effect. 


ETHAN   ALLEN   AT  TICONDEROGA.  149 


ETHAN  ALLEN  AT  TICONDEROGA. 

Nor  com'st  thou  but  by  Heaven,  nor  com'st  alone. 
Some  god  impels  with  courage  not  thy  own. 
No  human  hand  the  weighty  gates  unbarred, 
Nor  could  the  boldest  of  our  youth  have  dared 
To  pass  our  outworks,  or  elude  the  guard. 

TOPE'S  HOMEK. 

One  Female  and  Eleven  Male  Figures. 

THIS  historical  tableau  represents  Ethan  Allen  at 
the  entrance  of  Fort  Ticonderoga,  ordering  De  la 
Place,  the  commandant  of  the  fort,  to  immediately 
surrender,  in  the  name  of  the  great  Jehovah  and  the 
Continental  Congress.  Around  the  door  are  gathered 
the  soldiers  of  Allen.  De  la  Place  and  his  wife  stand 
upon  the  door-step,  partially  dressed,  and,  with  looks 
of  astonishment,  inquire  by  what  authority  he  demands 
the  surrender  of  the  fort.  The  number  of  figures  in 
this  picture  is  twelve.  Ten  of  them  represent  Amer- 
ican soldiers,  and  are  dressed  in  the  continental  uni- 
form, which  consists  of  a  blue  coat,  faced  with  buff, 
and  ornamented  with  large  brass  buttons,  buif  vest 
and  breeches,  white  hose,  low  shoes,  knee  and  shoe 
buckles,  and  black  chapeau,  and  each  furnished  with 
military  equipments.  Allen's  costume  should  be  of 
finer  material,  with  an  addition  of  sash,  epaulets, 
plume,  and  side  arms.  De  la  Place  has  on  red 
breeches,  with  a  gilt  stripe,  white  silk  hose,  knee 
buckles,  slippers,  and  wig,  a  red  coat  upon  his  arm, 
and  a  sword  in  his  right  hand,  the  handle  of  which  is 
13* 


150  THE  TABLEAU. 

extended  towards  Allen.  His  wife  is  costumed  in  a 
white  dress,  a  white  cap  on  her  head,  and  hair  hanging 
loosely  over  her  shoulders.  The  scenery  of  the  piece 
consists  of  a  frame  covered  with  cloth,  extending 
across  the  stage,  and  rising  from  the  floor  to  the  ceil- 
ing, with  a  door  in  the  centre,  and  windows  painted  on 
either  side,  and  placed  across  the  stage  in  the  back- 
ground. Mrs.  De  la  Place's  position  is  on  the  door 
sill,  her  body  inclined  slightly  forward,  her  left  hand 
holding  a  candlestick,  in  which  is  a  lighted  candle,  her 
right  hand  raised  in  front  of  her  breast,  eyes  fixed 
on  the  face  of  Allen,  while  the  countenance  expresses 
surprise  and  fear.  The  commandant  stands  on  the 
door-step  at  the  left  of  his  wife,  his  left  hand  stretched 
out  before  him,  the  right  holding  his  sword  ;  his  eyes 
are  fixed  on  those  of  Allen,  while  his  countenance 
expresses  surprise  and  indignation.  Allen  stands  in 
front  of  him  a  little  at  the  left,  grasping  his  sword  in 
the  right  hand,  which  he  raises  over  the  head  of  the 
commandant,  whilst  his  left  points  to  his  soldiers  ;  his 
countenance  expresses  sternness  and  authority.  The 
soldiers  are  standing  on  each  side  of  the  door  leaning 
carelessly  upon  their  muskets.  The  accompanying 
music  should  be  that  of  the  drum  and  fife.  The  light 
must  be  of  medium  brilliancy,  and  come  from  the  right 
of  the  stage. 


THE  GYPSY  FORTUNE  TELLER.         151 


THE  GYPSY  FORTUNE  TELLER. 

Seek  not  to  know  the  future ;  be  happy  while  you  may, 
Nor  cloud  with  dark  foreknowledge  the  sunshine  of  to-day. 
I  see  that  you  are  hopeful,  I  read  it  in  your  eyes, 
And  I  can  learn  no  more  from  the  stars  that  gem  the  skies. 
Trust  not  the  outward  seeming  of  all  who  speak  you  fair; 
What  has  been,  maiden,  may  be  — be  watchful  and  beware. 

I  will  not  cheat  you,  maiden ;  my  gypsy  skill  you  seek ;  • 
This  only  of  the  future  the  gypsy  girl  can  speak ; 
"When  flippant  worldlings  flatter,  let  then  your  doubts  begin ; 
Take,  maiden,  for  your  counsel  the  "  still  small  voice  within." 
If  weak  the  heart  of  woman,  her  stronghold  too  is  there ; 
Guard  then  the  fortress,  conscience !  be  watchful  and  beware. 

CHABLES  JEFFERY. 
Two  Female  Figures. 

THIS  tableau  is  a  representation  of  a  gypsy  fortune 
teller,  in  a  rude  tent,  in  front  of  which  is  burning 
a  small  fire.  She  is  seated  on  the  ground,  and 
holds  a  pack  of  cards  in  her  right  hand ;  her  left  is 
pointed  upward.  Her  head  is  turned  towards  a  young 
and  beautiful  girl,  who  is  stooping  at  her  side,  gazing 
with  earnestness  on  the  cards.  The  tent  should  be 
five  feet  high,  four  feet  wide  at  the  bottom,  and  termi- 
nating in  a  point  at  the  top.  It  can  be  made  of  light 
strips  of  wood,  covered  over  with  cloth.  An  open 
space  in  front,  two  feet  wide,  will  answer  for  the  door. 
The  fire  can  be  placed  in  an  iron  furnace,  around 
which  arrange  stones  or  brushwood.  Ignite  the  fire 
just  as  the  curtain  rises.  Fill  up  the  background 
of  the  stage  with  scenery  representing  a  forest,  or 
place  a  few  spruce  trees  behind  the  tent.  The  gypsy's 
costume  consists  of  a  bright  crimson  dress,  velvet 


152  THE   TABLEAU. 

waist,  laced  across  with  pink  ribbon  in  front,  display- 
ing a  white  robe  beneath  ;  rows  of  gilt  buttons  on 
each  side  of  the  opening  and  around  the  bottom  of  the 
sleeves.  The  hair,  which  should  be  long  and  black, 
is  allowed  to  hang  carelessly  over  the  shoulders  ;  the 
face  and  other  exposed  parts  of  the  body  stained  a  light 
brown.  The  young  lady  must  be  of  small  figure, 
good  form  and  features,  and  attired  in  a  white  dress, 
cut  low  at  the  top,  a  red  sash  around  the  waist,  and  a> 
small  straw  hat  placed  jan-tily  on  the  side  of  the  head. 
The  scene  should  be  illuminated  by  a  red  fire,  burned 
in  small  quantities  at  the  side  of  the  stage,  and  made 
to  reflect  on  the  group.  Music  soft. 


PEACE. 

Beautiful  vision,  how  bright  it  rose  ! 

Vision  of  peaceful  and  calm  repose  ! 

Well  might  it  brighten  the  rapt  seer's  eye, 

And  waken  his  heart  to  an  ecstasy  ; 

'Twas  earth,  glad  earth,  when  her  strife  was  o'er, 

Her  conflict  ended,  and  war  no  more. 


Eight  Male  and  Twelve  Female  Figures. 

THIS  tableau  is  an  allegorical  representation  of 
Peace.  The  number  of  figures  necessary  to  form  it  is 
twenty.  They  are  formed  in  six  separate  groups.  The 
centre  and  principal  group  is  a  party  of  young  ladies 
and  gentlemen  engaged  in  the  merry  dance.  They  are 
costumed  in  their  holiday  suits,  and  are  formed  in  a 


PEACE.  153 

circle  around  a  May-pole.  On  a  green  bank  in  the 
background  is  seated  a  young  lady  playing  the  guitar, 
and  a  young  gentleman  playing  the  violin.  This  group 
is  at  the  right.  At  the  left  is  a  young  and  beautiful 
girl,  who  represents  the  Queen  of  May  ;  by  her  side 
stands  a  second  female,  about  to  place  a  crown  of 
flowers  upon  her  head.  Between  these  two  groups, 
and  elevated  a  foot  above  them,  stands  the  Goddess  of 
Peace.  She  holds  in  her  right  hand  a  sheaf  of  wheat, 
and  in  her  left  an  olive  branch.  At  the  corners  of  the 
foreground  are  two  groups,  the  one  at  the  left  repre- 
senting a  mother  surrounded  by  three  children ;  she 
holds  a  large  Bible,  which  the  children  are  reading. 
The  group  at  the  right  represents  a  blacksmith  standing 
at  the  side  of  an  anvil,  —  a  large  hammer  in  his  right 
hand,  —  engaged  in  conversation  with  a  farmer,  who 
holds  a  rake.  The  costume  of  the  village  girls  should 
be  white  dresses,  decorated  with  flowers,  and  garlands 
on  their  heads.  The  gentlemen  should  be  dressed  in 
light  pants,  white  vests,  and  dark  coats.  The  Goddess 
of  Peace  has  on  a  long  white  dress,  bound  around  the 
waist  with  a  green  ribbon ;  a  wreath  of  dried  grasses 
and  wheat  encircles  the  head.  She  must  stand  per- 
fectly straight,  and  look  directly  forward,  with  a  pleas- 
ant expression  of  countenance.  The  gentleman  who 
plays  on  the  violin  is  costumed  in  a  dark  coat,  red 
breeches,  white  hose,  low  shoes,  knee  and  shoe  buckles, 
buff  vest,  a  plaid  scarf,  draped  across  the  shoulders,  and 
tied  at  the  right  side,  and  a  small  Scotch  cap,  with 
a  white  plume,  placed  jantily  on  the  head.  The 


154  THE   TABLEAU. 

costume  of  the  lady  at  his  side  consists  of  a  red  skirt, 
over  which  is  worn  a  white  skirt  that  is  looped  up  at 
the  side,  and  ornamented  with  small  bunches  of  ever- 
green and  spruce  ;  a  velvet  waist,  open  in  front,  and 
laced  across  with  pink  ribbons ;  short  sleeves ;  hair 
hung  in  ringlets,  and  ornamented  with  ribbons  ;  the 
countenances  of  both  expressing  pleasure.  The-  May 
Queen's  costume  consists  of  a  white  robe,  trimmed 
with  garlands  of  flowers.  Her  attendant  is  also 
dressed  in  white,  with  a  scarf  of  plaid  draped  across 
the  breast.  The  queen  is  kneeling  on  a  low  cushion, 
holding  a  small  bouquet,  the  head  turned  slightly  to 
the  right,  eyes  raised  to  the  ceiling.  The  lady  in 
the  foreground  has  on  a  blue  silk  dress,  a  white  apron, 
trimmed  with  green  ribbon,  and  hair  arranged  to  suit 
the  performer's  taste.  The  children's  costumes  may  be 
of  various  styles,  bright  colors  predominating.  The  lady 
should  sit  quite  low,  and  hold  the  Bible  with  her  right 
hand;  the  left  pointed  to  the  pages.  The  children 
and  mother  sit  facing  the  audience,  and  all  look  pleasant 
and  happy.  The  blacksmith's  costume  consists  of  dark 
pants,  blue  woollen  shirt,  sleeves  rolled  up  to  the  elbow, 
a  low-crowned  hat  on  the  head,  and  leather  apron  tied 
around  the  waist.  He  stands  facing  the  audience,  and 
is  engaged  in  conversation  with  the  farmer,  who  is 
dressed  in  a  long  blue  frock,  buff  pants,  straw  hat,  and 
heavy  boots  ;  the  right  hand  holds  a  rake,  the  left 
is  placed  on  the  side  of  the  body.  The  four  groups  at 
the  corners  should  be  as  compact  as  possible,  giving 
the  greater  portion  of  the  room  to  the  dancers  in  the 


WAR.  155 

centre.  The  bank  in  the  background  must  be  three 
feet  in  height,  and  covered  with  green  booking,  and 
also  the  floor  of  the  stage.  Make  the  May-pole  as 
high  as  the  space  will  admit,  and  cover  it  with  green 
cambric,  decorated  with  garlands  of  flowers.  The  light 
should  be  quite  brilliant,  and  come  from  the  right 
side  of  the  stage.  Music  inspiring. 


WAR. 

'Twas  man  himself 

Brought  Death  into  the  world  ;  and  man  himself 
Gave  keenness  to  his  darts,  quickened  his  pace, 
And  multiplied  destruction  on  mankind. 
First  Envy,  eldest  born  of  Hell,  imbrued 
Her  hands  in  blood,  and  taught  the  sons  of  men 
To  make  a  death  which  nature  never  made, 
And  God  abhorred  ;  with  violence  rude  to  break 
The  thread  of  life,  ere  half  its  length  was  run, 
And  rob  a  wretched  brother  of  his  being. 

FOETKUS. 

Twenty  Male  and  Six  Female  Figures. 

THIS  tableau  is  a  vivid  representation  of  some  of  the 
effects  of  war.  The  foreground  of  the  picture  repre- 
sents a  battle  field  after  the  combat  has  ended. 

"  'Twas  the  battle  field  ;  and  the  cold,  pale  moon 

Looked  down  on  the  dead  and  dying  ; 
And  the  wind  passed  o'er,  with  a  dirge  and  a  wail, 
Where  the  young  and  the  brave  were  lying." 

The  ground  is  strewn  with  the  dead  and  wounded 
soldiers,  broken  cannon,  muskets,  flags,  swords,  and 
portions  of  torn  and  tattered  uniforms.  In  the  back- 


156  THE   TABLEAU. 

ground,  there  is  a  representation  of  a  breastwork  of 
stone ;  on  the  extreme  right  are  two  females  weep- 
ing ;  at  the  extreme  left  is  a  mother  and  two  children. 
The  mother  lies  across  the  breastwork,  dead.  The 
children  stand  by  her  side,  looking  with  wonder  into 
her  face.  Standing  on  the  centre  of  the  breastwork 
is  the  Goddess  of  War.  In  one  hand  she  holds  a  torch, 
which  is  raised  above  her  head  ;  the  left  grasps  a  stan- 
dard and  sword.  The  number  of  figures  in  the  piece 
is  twenty-six.  Twenty  young  gentlemen  must  be  cos- 
tumed in  various  styles  of  military  suits,  while  many 
should  have  wounds  painted  on  various  parts  of  the 
body.  The  costume  of  the  Goddess  of  War  consists 
of  a  crimson  dress,  black  velvet  waist,  trimmed  with 
gold,  hair  hanging  loosely  over  the  shoulders,  and  a 
red  French  military  hat  on  the  head.  The  two  ladies 
at  the  right  are  costumed  in  mourning.  The  mother 
should  be  attired  in  a  white  dress  ;  the  children  in 
bright-colored  costumes,  with  hair  hanging  in  ringlets. 
The  stage  must  be  formed  like  an  inclined  plane, 
beginning  at  the  footlights,  and  rising  towards  the 
background,  and  covered  with  green  bocking.  The 
soldiers  should  be  grouped  about  the  ground  in  various 
positions,  and  the  cannon  and  guns  scattered  about  in 
a  promiscuous  manner.  The  two  ladies  in  mourning 
sit  on  the  top  of  the  breastwork,  side  by  side,  their 
heads  bowed  down,  and  hands  covering  their  faces. 
The  mother  is  seated  at  the  other  end  of  the  breast- 
work, head  thrown  back,  and  eyes  closed.  The  chil- 
dren are  standing  by  her  side,  clasping  their  hands  and 


THE  RESCUE.  157 

gazing  into  her  face.  The  Goddess  of  War  should 
stand  with  her  left  side  to  the  audience,  body  bent  for- 
ward, the  head  slightly  turned  towards  the  battle  field, 
the  countenance  expressing  animation  and  determina- 
tion. A  small  quantity  of  smoke  should  be  seen  rising 
behind  the  breastwork,  while  the  whole  scene  is  illumi- 
nated by  a  red  light  burned  at  the  side  of  the  stage. 
The  booming  of  distant  cannon  and  martial  music 
may  be  imitated  behind  the  stage. 


THE  EESCUE. 

Presence  of  mind  and  courage  in  distress 
Are  more  than  armies  to  procure  success. 

One  Female  and  Eight  Male  Figures. 

THIS  tableau  is  one  that  can  be  produced  without 
much  trouble  or  expense.  The  scene  is  taken  from  a 
historical  incident  that  occurred  during  the  revolu- 
tionary war.  At  the  close  of  one  of  the  hard-fought 
battles  between  the  Americans  and  British,  an  Ameri- 
can officer,  having  fought  long  and  well,  was  obliged 
to  seek  safety  in  flight,  hotly  pursued  by  a  company  of 
British  soldiers,  led  on  by  their  captain.  He  takes 
refuge  in  the  mansion  of  a  tory  in  the  vicinity  of  the 
battle  ground,  and  prostrates  himself  at  the  feet  of  the 
lady  of  the  house,  who  has  risen  from  her  chair  on 
hearing  the  tumult  at  the  door,  and  with  her  arm 
14 


158  THE   TABLEAU. 

extended  and  eyes  flashing,  sternly  bade  the  British 
officer  and  his  followers  to  quit  the  house.  The  British 
officer  is  standing  within  a  few  paces  of  the  American, 
with  sword  extended,  ready  to  pierce  his  body.  In  the 
rear  of  the  British  officer  stands  a  platoon  of  soldiers, 
with  muskets  ready  to  charge.  The  furniture  of  the 
room  consists  of  chairs,  carpet,  tables,  small  sofa,  pic- 
tures, &c.  The  lady  who  personates  the  tory  house- 
keeper should  be  tall,  with  good  figure  and  features ; 
her  costume  consists  of  a  showy  silk  dress  and  velvet 
waist.  Position  is,  at  the  right  of  the  stage,  near  the 
front.  A  small  table  is  placed  at  her  side,  on  which  are 
a  work  box  and  piece  of  embroidery  ;  behind  her  is  a 
large  chair ;  her  right  hand  is  extended  towards  the 
British  officer ;  the  left  is  placed  on  her  waist ;  her 
countenance  expressing  anger  and  command.  The 
American  officer  should  be  costumed  in  Continental 
uniform,  which  consists  of  a  blue  coat,  decorated  with 
large  gilt  buttons,  and  faced  with  buff,  buff  breeches, 
white  hose,  low  shoes,  knee  and  shoe  buckles,  red  sash, 
epaulets,  chapeau,  and  side  arms.  In  his  right  hand  he 
grasps  a  broken  sword.  The  position  is,  kneeling  two 
paces  front  of  the  lady,  body  bent  forward,  and  eyes 
cast  down  to  the  floor.  The  British  officer  and  soldiers 
are  dressed  in  similar  costumes,  with  the  exception  of 
the  coats,  which  are  scarlet.  The  British  officer's  po- 
sition is,  standing  in  the  centre  of  the  stage,  with  sword 
pointed  towards  the  American  officer,  and  eyes  directed 
to  the  lady.  The  lights  for  the  piece  should  be  of 


SOLOMON'S  JUDGMENT.  159 

medium  brightness,  and  come  from  the  side  of  the 
stage  opposite  the  lady.  The  background  must  be 
partially  shaded,  while  the  foreground  is  light.  For 
music,  drum  and  fife  are  adapted  to  the  piece. 


SOLOMON'S  JUDGMENT. 

"  A  mother's  love." 
If  there  be  one  thing  pure, 
Where  all  beside  is  sullied, 
That  can  endure 
When  all  else  pass  away  — 
If  there  be  aught 
Surpassing  human  deed,  or  word,  or  thought, 

"  It  is  a  mother's  love ! " 

Aifoir. 

Three  Male  and  Two  Female  Figures. 

THIS  Scripture  tableau  is  taken  from  the  third  chap- 
ter of  the  Book  of  Kings.  The  scene  is  at  the  moment 
when  Solomon  passes  his  judgment  between  the  two 
women.  These  two  women  each  had  a  child  of  the 
same  age,  and  resided  together.  The  children  resembled 
each  other  so  much  that  when  one  of  them  died,  there 
arose  a  dispute  as  to  whom  the  living  child  belonged  ; 
and  one  woman  said,  "  The  living  is  my  son,  and  the 
dead  is  thy  son."  And  the  other  said,  "  No  ;  the  dead 
is  thy  son,  and  the  living  is  my  son."  Then  said  the 
king,  "  Bring  me  a  sword."  And  they  brought  a 
sword  before  the  king,  and  the  king  said,  "  Divide  the 
living  child  in  two,  and  give  half  to  one  and  half  to 
the  other."  Then  spoke  the  woman  whose  the  living 


160  THE    TABLEAU. 

child  was  unto  the  king,  "  0  my  lord,  give  her  the 
living  child,  and  in  no  wise  slay  it."  But  the  other 
woman  said,  "  Let  it  be  neither  mine  nor  thine,  but 
divide  it."  Then  the  king  answered  and  said,  "  Give 
her  the  living  child,  and  in  no  wise  slay  it,  for  she  is 
the  mother  thereof."  The  number  of  figures  in  this 
tableau  is  five.  The  scenery  consists  of  a  platform  four 
feet  square  and  two  feet  high,  covered  with  red  cloth, 
which  should  be  placed  in  the  background,  at  equal 
distances  from  the  sides ;  on  this  is  placed  a  large, 
showy  chair,  with  a  canopy  over  the  top.  Seated  in 
the  chair  is  Solomon.  His  costume  consists  of  a  dark 
velvet  suit,  trimmed  with  gold  and  silver  fringe ;  a 
large  cloak,  trimmed  with  ermine,  is  worn  on  the 
shoulders  ;  black  hose,  reaching  to  the  knee,  crossed 
with  crimson  ribbon  ;  red  sandals,  ornamented  with 
gold  ;  a  showy  crown  on  the  head,  and  his  face  covered 
with  a  heavy  white  beard,  reaching  down  on  his  breast ; 
his  right  hand  is  pointed  towards  the  soldier  who  holds 
the  child ;  the  eyes  are  also  directed  that  way,  while 
the  countenance  appears  stern  and  commanding.  The 
soldier's  costume  consists  of  a  suit  of  armor  such  as 
can  be  procured  at  theatres  and  costumers;  but,  if 
preferred,  a  military  suit  of  any  kind  will  answer. 
His  position  is,  near  the  platform,  the  left  hand  grasp- 
ing the  child,  while  the  right  holds  a  sword,  which  is 
raised  above  it ;  his  body  faces  the  audience,  his  head 
turned  towards  the  king,  the  countenance  stern  and 
forbidding.  On  the  other  side  of  the  throne  stands  the 
king's  guard,  a  man  dressed  in  a  blue  frock,  trimmed 


SOLOMON'S  JUDGMENT.  161 

around  the  skirts,  sleeves,  and  front  with  red ;  white 
hose,  reaching  to  the  knee ;  black  knee  breeches  ;  low 
shoes ;  knee  and  shoe  buckles  ;  lace  collar  and  wrist- 
bands; low  black  Kossuth  hat,  with  gold  band  and 
plume.  The  right  hand  grasps  a  long  spear.  Position 
is,  facing  the  audience,  the  body  erect,  and  eyes 
directed  straight  forward.  At  the  corner  of  the  plat- 
form, near  the  soldier,  kneels  the  mother  of  the  child, 
in  position  so  that  a  side  view  is  had  of  the  face  ;  the 
hands  are  clasped  and  raised  in  front  of  her  breast, 
head  thrown  back,  and  eyes  directed  to  the  king, 
countenance  expressing  hope.  She  is  dressed  in  deep 
mourning,  her  hair  flowing  loosely  over  her  shoulders. 
On  the  other  side  of  the  throne,  opposite  the  guard, 
stands  the  other  woman,  her  arms  folded  on  her  breast, 
eyes  directed  to  the  soldier,  countenance  calm.  Her 
costume  consists  of  a  white  dress,  cut  low  in  the  neck, 
and  encircled  around  the  waist  with  a  colored  belt ; 
hair  arranged  in  heavy  braids,  and  ornamented  with 
showy  hair  pins.  The  lights  should  be  of  medium 
brilliancy,  and  come  from  either  side  of  the  stage.  If 
desirable,  a  few  paintings  and  statuary  can  be  arranged 
in  the  background.  Music  soft  and  plaintive. 
14* 


162  THE  TABLEAU. 


THE    BRIDAL   PRAYER. 

Sweet  be  her  dreams,  the  fair,  the  young  ; 

Grace,  Beauty,  breathe  upon  her ; 
Music,  haunt  thou  about  her  tongue  ; 

Life,  fill  her  path  with  honor. 

All  golden  thoughts,  all  wealth  of  days, 

Truth,  friendship,  love,  surround  her ; 
So  may  she  smile,  till  life  be  closed, 

And  angel  bands  have  crowned  her. 

BARKY  CORNWALL. 

One  Female  Figure. 

THIS  simple,  yet  pretty  tableau  represents  a  young 
maiden  dressed  in  bridal  costume,  kneeling  in  prayer 
in  her  chamber,  preparatory  to  her  descent  to  the  room 
below,  where  she  is  to  enter  into  the  holy  bonds  of 
matrimony.  The  stage  furniture  consists  of  an  orna- 
mental chamber  set,  a  few  richly-bound  books,  pictures, 
and  other  articles  pertaining  to  a  chamber.  The  young 
lady  should  be  of  good  figure  and  features.  Costume 
consists  of  a  white  dress,  low  in  the  neck,  and  orna- 
mented with  white  flowers.  The  hair  can  be  dressed 
to  suit  the  performer's  taste,  while  a  wreath  of  myrtle 
and  flowers  encircles  the  head,  at  the  back  of  which 
trails  a  long  white  veil.  Position  is,  kneeling  in  the 
centre  of  the  stage,  so  that  a  side  view  can  be  had  of 
the  form,  the  hands  raised  and  placed  together  in  front 
of  the  face,  the  head  slightly  thrown  back,  the  eyes 
closed,  and  the  countenance  expressing  devotion. 
Little  light  is  required,  which  should  come  from  the 
side  of  the  stage.  Music  soft  and  plaintive. 


THE  GUITAR  LESSON.  163 


THE   GUITAR   LESSON. 

O,  strike  the  guitar  lightly,  lightly ; 

Its  tones  I  ne'er  forget ; 
O,  strike  the  guitar  lightly  ; 

'Tis  sweet  as  when  we  met. 

One  Female  and  One  Male  Figure. 

THIS  simple,  but  pretty  tableau  represents  a  young 
lady  at  the  music  room  of  her  teacher,  taking  a  lesson 
on  the  guitar.  The  scene  represented  is  a  room  fur- 
nished with  table,  chairs,  carpet,  vases,  pictures,  &c. 
A  small  sofa,  or  a  pair  of  ottomans,  are  placed  in  the 
centre  of  the  apartment,  on  which  is  seated  a  young 
and  beautiful  lady,  and  by  her  side  the  teacher.  The 
lady  holds  in  her  hands  a  guitar,  on  which  she  is  play- 
ing. Her  teacher  holds  a  sheet  of  music  in  the  left 
hand,  while  with  the  right  he  points  towards  the  guitar. 
The  maiden's  costume  consists  of  a  white  dress,  velvet 
waist,  white  flowing  sleeves,  waist  encircled  with  a 
crimson  sash ;  hair  done  up  in  a  neat  manner,  and 
decorated  with  large  feldspar  beads.  Her  position  is, 
facing  the  audience,  head  slightly  turned  to  her 
teacher,  eyes  directed  to  the  music,  face  beaming 
with  smiles.  The  teacher's  costume  consists  of  black 
pants,  white  hose,  reaching  to  the  knee,  with  a  band 
of  colored  ribbon,  and  wide  lace  attached  by  a  large 
paste  pin  at  the  top,  low  shoes  with  buckles,  single- 
breasted  vest  left  unbuttoned,  showing  a  white  shirt 
underneath.  A  lady's  pink  or  red  sack  will  on  an 


164  THE  TABLEAU. 

emergency  answer  for  a  coat.  A  lady's  velvet  cape 
should  be  thrown  carelessly  over  the  shoulder.  The 
wristbands  of  the  shirt  bound  with  wide  lace,  and  a 
wide  lace  collar  worn  around  the  neck.  The  head 
covered  with  a  low-crowned  Kossuth  hat,  orna- 
mented with  a  gilt  band,  and  white  plume,  which 
is  fastened  to  the  hat  with  a  large  and  brilliant  paste 
pin.  Both  of  these  costumes  can  be  arranged  at  short 
notice,  and  the  tableau  would  be  suitable  for  home 
entertainment.  A  guitar,  played  behind  the  scenes, 
will  answer  for  the  music.  The  light  must  be  of 
medium  brightness,  and  come  from  either  side  of  the 
stage. 


ROGER  WILLIAMS   PREACHING  TO  THE  INDIANS. 

"  Gitche  Manito  the  Mighty, 
The  Great  Spirit,  the  Creator, 
Sends  them  hither  on  his  errand, 
Sends  them  to  us  with  his  message. 

Let  us  welcome,  then,  the  strangers, 
Hail  them  as  our  friends  and  brothers, 
And  the  heart's  right  hand  of  friendship 
Give  them  when  they  come  to  see  us." 

LONGFELLOW. 

Two  Female  and  Eight  Male  Figures. 

ROGER  WILLIAMS  was  the  first  white  man  that  settled 
in  Rhode  Island.  He  was  a  clergyman,  and  lived  in 
Boston  ;  but  he  did  not  think  exactly  as  the  other  cler- 
gymen of  Boston,  and  was  therefore  banished  from 
Massachusetts.  He  emigrated  with  his  family  to  the 


EOGER   WILLIAMS  PREACHING   TO  THE  INDIANS.      165 

woods.  After  travelling  a  considerable  time,  he  se- 
lected a  beautiful  spot,  and  built  him  a  house.  Other 
settlers  soon  came  that  way,  and  founded  homes. 
This  was  the  first  settlement  of  Providence.  Wil- 
liams was  kindly  treated  by  the  Indians,  who  seemed 
pleased  at  his  arrival  among  them.  Every  Sabbath  he 
would  go  into  the  village  and  preach  to  them.  The 
scene  in  this  tableau  represents  him  standing  before  a 
wigwam  with  his  Bible  in  hand,  explaining  the  Holy 
Scriptures  to  a  group  of  savages  who  are  gathered 
about  him.  A  few  spruce  trees  should  be  placed  in 
the  background  of  the  picture,  a  fire  kindled  in  the 
centre  of  the  stage,  which  can  be  placed  in  an  iron 
furnace,  and  surrounded  with  stones.  The  floor  must 
be  covered  with  white  cloth.  Logs  and  branches  of 
trees  should  be  scattered  around  the  stage.  At  the 
left  of  the  stag*e  is  the  wigwam,  formed  with  rough 
poles,  covered  with  light-brown  cloth,  and  ornamented 
with  red  hieroglyphics.  In  the  background,  and  at 
each  side  of  the  stage,  are  seated  Indians.  The  floor 
of  the  stage  in  the  background  should  be  raised  one 
foot,  on  which  are  placed  the  trees  ;  in  front  of  the 
wigwam  stands  Roger  Williams ;  he  partially  faces  the 
audience  ;  his  left  hand  holds  a  Bible,  while  his  right  is 
raised  upward,  his  eyes  directed  towards  the  Indians  — 
countenance  expressing  animation.  Costume  consists 
of  black  coat  of  ancient  style,  black  breeches,  black 
vest,  white  hose,  ruffled  bosom,  and  white  cravat,  knee 
and  shoe  buckles,  and  a  long  white  wig,  ending  in  a 
cue,  and  tied  with  a  black  ribbon.  Costume  of  the 


166  THE  TABLEAU. 

Indians  is  a  short  frock,  made  of  and  trimmed  with  a 
bright-colored  cambric,  pants  of  dark  buff  cloth,  fitting 
tightly  so  as  to  develop  the  form  of  the  leg,  moccasins 
of  red  flannel,  decorated  with  beads ;  a  strip  of  card- 
board, covered  with  red  flannel,  and  ornamented  with 
feathers  of  any  kind,  should  be  worn  around  the  head. 
A  belt  about  the  waist,  containing  tomahawk  and  knife, 
both  of  which  can  be  made  of  wood,  and  painted  in 
bright  colors.  A  few  squaws  are  interspersed  in  the 
scene.  Their  costumes  are  similar  to  those  of  the 
men,  with  the  addition  of  a  bright-colored  blanket 
thrown  over  the  shoulders,  and  hair  loosely  flowing 
about  the  neck.  The  exposed  portions  of  the  bodies 
of  the  Indians  are  stained  of  the  same  color  as  the 
pants.  '  The  position  of  the  figures  must  be  varied, 
while  all  look  with  attention  to  Williams.  The  scene 
should  be  lighted  by  a  red  fire,  burned'at  the  front  side 
of  the  stage.  Music  soft  and  of  a  sacred  character. 


CROSSING  THE  LINE.  167 


CROSSING  THE   LINE. 

Far,  far  upon  the  sea 

The  good  ship  speeding  free, 

Upon  the  deck  we  gather,  young  and  old, 
And  view  the  flowing  sail 
Swelling  out  before  the  gale, 

Full  and  round,  without  a  wrinkle  or  a  fold. 

Ten  Male  Figures. 

THIS  comic  tableau  is  a  representation  of  a  scene  which 
often  transpired  on  board  of  vessels  in  passing  the  line. 
This  time-honored  custom  of  introducing  to  old  Neptune 
and  his  suite  the  persons  who,  for  the  first  time  in  their 
lives,  cross  the  equinoctial  line,  is  now  nearly  abolished. 
But  until  within  a  quarter  of  a  century,  the  occasion 
of  crossing  the  line  was  one  of  no  little  importance. 
It  was  a  jubilee  on  board  ship  which  was  looked  for- 
ward to  with  eagerness  by  the  jolly  tars  who  had 
already  shaken  hands  with  the  God  of  the  Ocean,  and 
with  fear  and  trembling  by  the  youths  who  were  about 
to  enter  for  the  first  time  the  favorite  dominions  of  the 
old  god.  The  ceremonies  on  these  occasions  varied 
according  to  the  character  of  the  crew,  of  the  com- 
mander of  the  vessel,  or  of  the  poor  fellows  about  to 
undergo  the  unpleasant  and  dreadful  process  of  an 
introduction.  They  were  generally  of  a  harmless  and 
amusing  character,  one  of  which  was  to  bring  them 
before  old  Neptune,  and  put  them  through  the  process 
of  shaving.  The  chin,  and  the  greater  part  of  the  face, 
would  be  plastered  over  with  a  composition  made  of 


168  THE   TABLEAU. 

tar   and   train   oil,  laid   on   thickly   with  a  large  tar 
brush.     The  razor  was  often  fabricated  from  a  worn- 
out  hoop,  notched  like  a  handsaw.     This  was  drawn 
over  the  face,  not  in  the  most  gentle  manner.     After 
this  operation  was  completed,  a  person  approached  to 
untie  the  handkerchief  that  bandaged  the  eyes,  and  at 
the  same  moment  kicked  away  the  plank  on  which  the 
victim  sat,  which  precipitated  him  into  the  ship's  long- 
boat, filled  with  water  for  the  occasion.  —  The  number 
of  figures   in   this  tableau   is   ten.      Neptune    is   the 
principal  one,  and  is  costumed  in  a  flesh-colored  coat, 
fitting  tightly  to   the  body,  and  covered  with  hiero- 
glyphics in  bright  colors  ;  the  face  painted  to  look  hid- 
eous, and  partially  covered  with  a  long,  shaggy  beard  ; 
a  crown  on  the  head,  made  of  card-board,  covered  with 
gilt  paper  and  shells  ;  a  spotted  fur  robe  is  thrown  over 
the  lower  portion  of  the  body  ;  his  right  hand  grasps  a 
three-pronged  fork,  while  the  left  is  stretched  out  to 
one  of  the  sailors.     His  throne,  on  which  he  is  seated, 
is  made  of  a  number  of  barrels  placed  in  a  row  at  the 
back  of  the  stage,  on  which  rests  a  platform,  with  an 
anchor  on  each  side.     The  victim,  as  well  as  the  rest 
of  the  performers,  should  be  costumed  in  sailors'  suits, 
differing  in  colors  and  styles.     In  the  centre  of  the 
stage  erect  a  small  platform,  one  foot  high  and  six  feet 
long.     On  this  place  the  person  who  is  to  be  shaved. 
At  his  left  stand  two  sailors.     One  holds  the  speaking 
trumpet  and  a  ship's  bucket ;  the  other  is  in  the  act  of 
pouring  a  bucket  of  water  on  the  head  of  the  victim ; 
a  third  sailor  holds  in  his  left  hand  a  paint  brush,  and 


THE  WEDDING.  169 

brandishes  the  razor  in  his  right  ;  a  little  sailor  boy 
holds  a  small  tub,  which  contains  the  soap.  Fronting 
the  victim,  kneels  a  sailor,  holding  a  syringe.  The 
remaining  figures  are  looking  on  to  see  the  sport.  The 
countenances  of  all  but  the  victim  express  mirth.  An 
imitation  mast  and  sail  should  be  arranged  at  the  back- 
ground of  the  picture,  the  sides  of  the  stage  painted  to 
represent  ports  of  a  vessel,  and  various  articles  that 
are  used  on  board  a  ship  must  be  scattered  about 
the  deck.  Light  brilliant,  and  come  from  the  right 
side  of  the  stage. 


THE   WEDDING. 

Pass  thou  on  !  for  the  vow  is  said 

That  may  ne'er  be  broken  ; 
The  trembling  hand  hath  a  blessing  laid 
On  snowy  forehead  and  auburn  braid, 

And  the  word  is  spoken 
By  lips  that  never  their  word  betray'd. 

Pass  thou  on  !  for  thy  human  all 

Is  richly  given, 

And  the  voice  that  claims  its  holy  thrall 
Must  be  sweeter  for  life  than  music's  fall, 
And,  this  side  heaven, 
Thy  lip  may  never  that  -trust  recall. 


One   Female  and  Two  Male  Figures. 

THIS  tableau  is   a  representation  of  the  marriage 

ceremony,  and  is  arranged  with  little  trouble  or  ex- 

pense.    For  a  home   entertainment  it  will   be   quite 

appropriate.      The    scene  is  a  young  and  beautiful 

15 


170  THE    TABLEAU. 

maiden  and  a  fine-looking  gentleman  kneeling  at 
the  foot  of  an  altar,  behind  which  stands  a  priest, 
dressed  in  appropriate  costume.  He  is  performing 
the  wedding  rites.  He  holds  in  his  right  hand  a 
prayer  book ;  his  left  is  stretched  out  over  the  kneeling 
couple ;  his  eyes  are  raised  upward,  the  countenance 
calm.  The  lady  and  gentleman  kneel  at  the  foot  of 
the  altar,  partially  facing  each  other,  so  that  a  side 
view  is  had  of  the  body.  The  eyes  of  both  are  cast 
down  ;  the  lady's  costume  consists  of  a  white  dress, 
trimmed  to  suit  the  taste  of  the  performer.  A  delicate 
wreath  of  silver  leaves  crowns  the  head,  and  a  long 
white  veil  hangs  from  the  back  hair  to  the  floor.  The 
gentleman  should  be  costumed  in  a  black  coat  and 
pants,  white  vest,  cravat,  and  gloves.  The  priest's  cos- 
tume consists  of  a  black  surplice  and  cowl,  white  cra- 
vat, and  a  large  cross  suspended  from  the  neck.  For 
want  of  a  better  article,  a  lady's  black  dress  will  an- 
swer for  the  surplice,  and  a  black  silk  scarf,  wound 
around  the  head,  will  answer  for  a  cowl.  The  altar 
can  be  formed  out  of  a  small  table,  with  a  white  cloth 
thrown  over  it,  with  a  large  Bible  on  the  top.  The 
light  for  this  piece  should  be  mellow,  and  come  from 
the  left  side  of  the  stage.  Music  soft  and  plaintive. 


HIAWATHA   SAILING.  171 


HIAWATHA   SAILING. 

"  And  thus  sailed  my  Hiawatha 
Down  the  rushing  Taguamenaw  — 
Sailed  through  all  its  bends  and  windings, 
Sailed  through  all  its  deeps  and  shallows, 
"While  his  friend,  the  strong  man  Kwasind, 
Swam  the  deeps,  the  shallows  waded. 

Up  and  down  the  river  went  they, 
In  and  out  among  its  islands, 
Cleared  its  bed  of  root  and  sand-bar, 
Dragged  the  dead  trees  from  its  channel, 
Made  its  passage  safe  and  certain, 
Made  a  pathway  for  the  people, 
From  its  springs  among  the  mountains, 
To  the  waters  of  Pauwating, 
To  the  bay  of  Taguamenaw." 

LONGFELLOW. 

Two  Female  and  Two  Male  Figures. 

THIS  interesting  tableau  represents  Hiawatha  and 
his  friends  sailing  in  his  birch  canoe.  The  arrange- 
ment of  the  scenery  is  quite  simple,  and  when  properly 
adjusted,  makes  one  of  the  finest  pictures  in  this  series. 
The  floor  of  the  stage  must  be  arranged  to  represent 
water,  which  can  be  done  in  the  following  manner: 
Nail  strips  or  narrow  bands  of  wood  on  each  side  of  the 
stage,  the  front  ends  resting  on  the  floor,  the  other 
ends  raised  to  the  height  of  one  foot ;  at  intervals  of 
ten  inches  on  the  strips  place  stout  nails,  and  to  these 
fasten  stout  cord  from  one  side  of  the  stage  to  the 
other ;  across  the  cords  place  strips  of  light-blue  cam- 
bric, allowing  it  to  festoon  from  one  cord  to  the  other ; 
fasten  the  cambric  to  the  cords  with  pins,  and  paint  in 


172  THE   TABLEAU. 

a  careless  manner  the  ridges  to  represent  miniature 
waves  ;  then  scatter  the  surface  with  isinglass  in  small 
particles.  Fill  up  the  background  with  scenery  of  a 
similar  character,  or  with  small  spruce  trees.  An  imi- 
tation birch  canoe  can  be  made  of  strips  of  wood,  covered 
with  cloth,  painted  light  brown,  and  ornamented  with 
bands  of  crimson,  blue,  and  white  paint ;  this  should  be 
placed  in  the  centre  of  the  stage,  on  small  ways  running 
across  from  one  dressing  room  to  the  other,  and  painted 
the  same  color  as  the  waves.  Grooved  pieces  of  wood 
must  be  fastened  to  each  side  of  the  canoe,  so  that  it 
can  be  propelled  across  the  stage  on  the  ways,  and 
appear  to  be  floating  on  the  top  of  the  water.  Ropes 
attached  to  each  end,  at  the  bottom  of  the  boat, 
passed  under  the  waves,  and  roved  through  blocks, 
can  be  used  to  propel  it  from  one  side  of  the  stage 
to  the  other.  The  ways  should  extend  into  the  ante- 
rooms, so  that  the  boat  can  pass  entirely  from  the 
stage.  Large  leaves  and  long  grasses,  made  of  green 
cambric,  may  be  placed  around  the  edges  of  the 
water.  The  boat  contains  two  Indian  braves  and  two 
Indian  maidens.  All  are  dressed  in  costumes,  which 
have  been  described  in  the  tableau  of  "  Hiawatha  and 
his  Bride's  Return  Home."  Hiawatha  is  seated  in  the 
stern  of  the  boat,  holding  a  paddle  in  the  water.  The 
other  Indian  is  kneeling  in  the  bow  with  his  bow  and 
arrow,  and  in  position  as  if  firing  to  the  shore.  One 
of  the  maidens  is  looking  intently  over  the  side  of  the 
canoe,  and  the  other  is  looking  upward.  Both  should 
have  long  black  hair  flowing  over  the  shoulders.  The 


THE   VILLAGE  STILE.  173 

canoe  should  move  very  slow,  and  should  be  seen  in 
motion  when  the  curtain  rises  ;  and  to  have  it  move  in 
a  steady  manner,  the  ropes  should  be  attached  to  a 
windlass  below  the  stage.  The  scene  must  be  illumi- 
nated by  a  green  fire  burned  at  the  side  of  the  stage 
opposite  the  entrance  of  the  canoe.  Music  soft  and 
plaintive. 


THE  VILLAGE   STILE. 

The  village  stile  —  and  has  it  gone  ? 
Supplanted  by  this  niche  of  stone, 

So  formal  and  so  new  ; 
And  worse,  still  worse,  the  elder  bush, 
"Where  sang  the  linnet  and  the  thrush  —  ; 

Say,  has  that  vanished  too  ? 

Age  sat  upon  't  when  tired  of  straying  ; 
And  children  that  had  been  a-maying  ; 

These  trimmed  their  garlands  gay  ; 
What  tender  partings,  blissful  meetings, 
What  faint  denials,  fond  entreatings, 

It  witnessed  in  its  day  ! 

One  Female  and  One  Male  Figure. 

THIS  rustic  tableau  represents  a  young  shepherd  and 
his  betrothed  seated  on  the  village  stile,  engaged  in 
conversation.  In  the  centre  of  the  stage,  a  weather- 
worn plank  should  be  placed,  resting  on  artificial  banks 
at  each  side,  which  are  three  feet  high  and  four  feet 
wide  ;  these  can  be  shaped  out  of  boxes  or  chairs 
placed  together  in  a  careless  manner,  and  covered  with 
green  booking;  at  each  side  of  the  stage,  near  the 
15* 


174  THE   TABLEAU. 

banks,  place  small  spruce  trees,  and  beneath  the  stile 
build  a  step  out  of  old  plank,  one  foot  high,  and  the 
length  of  the  space  between  the  two  banks.  Seated  on 
the  inner  side  of  the  stile  is  the  young  maiden.  She 
is  partially  facing  the  audience,  body  slightly  bent  for- 
ward, right  hand  placed  in  that  of  the  shepherd,  while 
the  left  rests  on  a  basket  of  flowers  placed  on  her 
knee.  Costume  consists  of  a  showy  plaid  dress,  with 
a  green  waist,  trimmed  with  purple  cloth,  cut  in  scal- 
lops ;  a  small  pink  scarf  worn  over  the  shoulders,  and 
tied  at  the  side ;  a  pink  apron,  trimmed  with  white ;  a 
small  straw  hat,  bound  with  green  ribbon,  and  set  jan- 
tily  on  the  head  ;  hair  done  up  low  in  the  neck,  and 
ornamented  with  blue  and  red  ribbons.  The  eyes  are 
cast  down  to  the  basket,  the  expression  of  the  face 
thoughtful.  The  young  shepherd  stands  on  the  out- 
side of  the  stile,  reclining  carelessly  against  the  green 
bank.  He  partially  faces  the  audience  ;  his  eyes  are 
directed  to  the  opposite  side  of  the  stage,  the  expres- 
sion of  the  face  denoting  deep  thought.  The  right 
hand  clasps  that  of  the  maiden,  while  the  left  hangs 
carelessly  at  the  side,  and  grasps  a  shepherd's  crook, 
which  is  six  feet  long.  Costume  consists  of  a  loose, 
light-blue  coat,  bound  at  the  bottom  of  the  skirt  and 
sleeves  with  dark  blue ;  a  belt  of  the  same  encircles 
the  waist ;  white  hose,  low  shoes  covered  with  red 
cloth,  knee  and  shoe  buckles,  and  low-crowned  hat ;  a 
straw  hat,  covered  with  brown  cambric,  and  bound 
with  red,  will  answer.  If  a  large  dog  can  be  procured, 


FLORENCE   NIGHTINGALE   IN   THE   CRIMEA.  175 

that  will  remain  perfectly  still,  place  him  at  the  feet  of 
the  shepherd.  The  light  should  be  of  medium  bril- 
liancy, and  come  from  the  front  of  either  side  of  the 
stage.  Music  soft  and  of  a  secular  order. 


FLORENCE   NIGHTINGALE  IN  THE   CRIMEA. 

The  tender  sigh,  the  balmy  tear, 

That  meek-eyed  pity  gave, 
My  last  expiring  hour  shall  cheer, 

And  bless  a  soldier's  grave. 

One  Female  and  Three  Male  Figures. 

THIS  tableau  is  one  that  can  be  easily  formed  for  an 
evening's  entertainment.  It  represents  Florence  Night- 
ingale nursing  a  young  wounded  soldier  in  his  tent  at 
the  Crimea.  Florence  Nightingale  was  one  of  those 
philanthropic  and  humane  ladies  who  left  their  homes 
and  the  comforts  of  life,  and  resorted  to  the  Crimea, 
where,  on  the  field  of  battle  and  in  the  pestilential  hos- 
pital, she  comforted  and  nursed  the  sick  and  wounded 
soldiers.  The  tent  can  be  made  of  white  cloth,  fastened 
to  a  frame  of  light  strips  of  wood  eight  feet  square, 
with  a  small  flag  fastened  in  front.  A  couch  should 
be  formed  at  one  side  of  the  tent,  on  which  reclines 
the  wounded  soldier,  with  an  imitation  of  a  large 
wound  on  the  forehead,  a  large  black  patch  on  the  side 
of  the  face,  and  a  bandage  around  the  head  ;  his  face 
must  be  made  quite  white,  his  body  supported  by 


176  THE   TABLEAU. 

pillows ;  eyes  fixed  on  Florence,  countenance  calm 
and  tranquil ;  his  right  arm  is  extended  outside  of  the 
coverlet,  and  is  held  by  a  comrade  who  is  at  the  side  of 
the  bed.  Florence's  costume  consists  of  a  red  dress 
reaching  to  the  knee,  a  white  collar,  loose  blue  pants 
with  red  stripe,  buff  apron  trimmed  with  white,  a  flat 
blue  cap  with  gold  band,  a  small,  square,  black  bag, 
suspended  at  the  side  by  leather  straps  passing  over 
the  shoulders,  the  hair  arranged  low  in  the  neck; 
she  is  standing  by  the  side  of  the  couch,  body  bent 
slightly  forward,  one  hand  resting  on  the  pillow,  the 
other  grasps  the  hand  of  the  sufferer.  On  the  other 
side  of  the  bed  is  a  soldier,  seated  on  a  camp-stool, 
engaged  in  reading  a  Bible.  He  is  dressed  in  a  showy 
uniform,  and  is  facing  the  audience.  The  lights  for 
this  piece  should  be  of  medium  brilliancy,  and  come 
from  the  front  of  the  stage.  Music  of  a  military  style. 


THE  FIREMAN'S  STATUE.  177 

THE    FIREMAN'S    STATUE. 

One   Male  and  Six  Female  Figures. 

THIS  tableau  is  quite  a  tasty  design,  and  is  repre- 
sented by  six  females  in  a  kneeling  posture,  supporting 
a  circular  shield,  on  the  top  of  which  stands  a  young 
and  handsome  fireman,  dressed  in  his  regalia.  In  his 
right  hand  he  grasps  a  hose  pipe,  the  end  of  which 
rests  on  the  top  of  an  imitation  hydrant,  which  is 
placed  on  the  top  of  the  shield  at  his  side.  His  posi- 
tion is,  facing  the  audience,  body  and  head  erect,  the 
left  hand  resting  on  the  hip,  eyes  raised  upward,  coun- 
tenance calm.  The  ladies'  costume  consists  of  a  white 
dress,  red  waist,  blue  sash,  hair  done  up  snugly  and 
encircled  with  a  gold  band,  on  the  front  of  which  is  a 
silver  star,  with  a  blue  border  and  spangles  in  the 
centre.  The  shield  should  be  three  feet  in  diameter, 
and  placed  on  a  pedestal  high  enough  to  allow  the 
ladies  to  kneel  beneath.  It  should  be  covered  with  a 
white  cloth  that  will  trail  to  the  floor.  The  ladies 
kneel  in  a  circle  around  the  shield,  the  body  facing 
outward,  the  head  turned  slightly  to  one  side,  both 
hands  placed  against  the  bottom  of  the  shield,  the  eyes 
cast  down.  The  two  centre  ladies  should  partially  face 
each  other.  Expression  of  the  countenance  pleasant. 
Music  of  an  operatic  order. 


178  THE  TABLEAU. 


JOAN  OF  ARC  AT  THE   SIEGE   OF   ORLEANS. 

That  was  a  joyous  day  in  Rheims  of  old, 
When  peal  on  peal  of  mighty  music  roll'd 
Forth  from  her  throng'd  cathedral ;  while  around, 
A  multitude,  whose  billows  made  no  sound, 
Chain'd  to  a  hush  of  wonder,  though  elate 
With  victory,  listen'd  at  their  temple's  gate. 

But  who  alone 

And  unapproach'd  beside  the  altar  stone, 
With  the  white  banner,  forth  like  sunshine  streaming, 
And  the  gold  helm,  through  clouds  of  fragrance  gleaming,  — 
Silent  and  radiant  stood  ?  —  The  helm  was  raised, 
And  the  fair  face  reveal'd  that  upward  gazed 
Intensely  worshipping  :  —  a  still,  clear  face, 
Youthful,  but  brightly  solemn  !  —  Woman's  cheek 
And  brow  were  there,  in  deep  devotion  meek, 

Yet  glorified  with  inspiration's  trace 
On  its  pure  paleness ;   while,  enthroned  above, 
The  pictured  Virgin,  with  her  smile  of  love, 
Seem'd  bending  o'er  her  votaress.  —  That  slight  form ! 
Was  that  the  leader  through  the  battle  storm  ? 
Had  the  soft  light  in  that  adoring  eye 
Guided  the  warrior  where  the  swords  flash'd  high  ? 

'Twas  so,  even  so  !  —  and  thou,  the  shepherd's  child 
Joanne,  the  lowly  dreamer  of  the  wild  ! 
Never  before,  and  never  since  that  hour, 
Hath  woman,  mantled  with  victorious  power, 
Stood  forth  as  thou  beside  the  shrine  didst  stand, 
Holy  amidst  the  knighthood  of  the  land ; 
And  beautiful  with  joy  and  with  renown 
Lift  thy  white  banner  o'er  the  olden  crown, 
Hansom'd  for  France  by  thee ! 

MRS.  HEMAXS. 

One  Female  and  Thirty  Male  Figures. 

THIS  historical  tableau  contains  thirty-one  figures. 
A  less  number  will  make  a  picture  ;  but  to  give  proper 
effect  to  the  scene,  there  should  be  thirty-one.  Joan  of 


JOAN  OP  ARC  AT  THE  SIEGE  OF  ORLEANS.         179 

Arc,  the  heroine  of  this  piece,  at  the  age  of  nineteen 
was  a  simple  and  Uneducated  shepherdess,  and  by  her 
enthusiastic  courage  and  patriotism  was  the  immediate 
cause  of  that  sudden  revolution  in  the  affairs  of 
France  which  terminated  in  the  establishment  of 
Charles  VII.  on  the  throne  of  his  ancestors,  and  the 
final  expulsion  of  the  English  from  that  kingdom. 
The  town  of  Orleans  was  the  only  place  in  France 
which  remained  in  the  possession  of  the  dauphin  at 
the  time  when  this  heroine  made  her  appearance,  and 
that  was  closely  besieged  by  the  English,  while  Charles 
had  not  the  smallest  hope  of  being  able  to  procure  an 
army  to  raise  the  siege.  Benevolent  in  her  disposition, 
gentle  and  inoffensive  in  her  manners,  and  above  all, 
dutiful  to  her  parents,  Joan  had,  from  her  earliest 
infancy,  been  ardently  attached  to  her  country.  Her 
piety,  her  enthusiasm  being  thus  united  in  her  young 
and  romantic  mind  with  an  all-absorbing  feeling  of 
patriotism,  she  was  led  to  believe  herself  the  humble 
instrument,  in  the  hands  of  Heaven,  by  whom  the 
interest  and  glory  of  France  were  to  be  redeemed. 
Under  this  impression,  the  maiden  left  her  native  vil- 
lage, and  appeared  before  Charles  dressed  as  a  warrior, 
and  informed  him  that  she  had  two  things  to  accom- 
plish on  the  part  of  the  King  of  heaven;  first,  to 
cause  the  siege  of  Orleans  to  be  raised ;  and  secondly, 
to  conduct  the  King  to  Rheims,  there  to  be  anointed. 
The  enterprise  so  courageously  proposed  was  con- 
sidered, and  her  services  publicly  accepted.  On  the 
29th  of  April,  1429,  Joan  of  Arc  appeared  before 


180  THE   TABLEAU. 

Orleans,  with  twelve  thousand  men.  She  made  an 
attack  upon  Fort  St.  Loup,  which  she  carried,  sword  in 
hand,  as  well  as  the  bulwarks  of  St.  John.  She  had  a 
banner  made  after  her  own  device  ;  her  sword  was 
taken  from  the  tomb  of  a  knight,  where  it  had  lain 
more  than  a  century ;  her  helmet  was  surmounted 
with  feathers.  She  remained  at  the  head  of  the  army 
until  1430,  when  she  was  taken  prisoner  by  the  Eng- 
lish, at  the  siege  of  Campaigne.  From  the  moment 
she  was  a  prisoner,  the  heroine  was  forgotten.  Joan 
was  condemned  at  Rouen,  by  Cauchon,  Bishop  of 
Beauvais,  and  five  other  French  bishops,  to  be  burned 
alive  for  magic  and  heresy,  and  her  cruel  sentence  was 
put  in  execution  on  the  24th  of  May,  1431.  Thus  was 
the  admirable  heroine  cruelly  delivered  over  in  her 
youth  to  the  flames,  and  expiated  by  the  punishment 
of  the  fire  the  signal  services  which  she  had  rendered 
to  her  prince  and  native  country.  The  scene  for  the 
tableau  is  taken  at  the  moment  when  Joan  of  Arc, 
sword  in  hand,  is  leading  on  the  storming  party  over 
the  bulwarks  of  St.  John.  She  is  seen  on  the  top  of 
the  ramparts,  near  one  of  the  cannon  which  has  just 
been  fired.  Her  soldiers  are  charging  over  the  bul- 
warks around  her.  In  the  background  are  to  be  seen 
the  troops  of  the  various  armies,  engaged  in  hostile 
combat.  The  battlements  should  be  three  or  four  feet 
in  height,  two  feet  wide,  running  across  the  front  of 
the  stage,  with  an  embrasure  in  the  centre.  Boxes 
covered  with  imitation-stone  paper  are  to  be  used  for  its 
formation.  If  a  small  cannon  cannot  be  procured,  a 


JOAN   OF  ARC   AT  THE   SIEGE   OP   ORLEANS.          181 

mock  one  may  be  constructed  of  wood.  Platforms 
rising  gradually  from  the  ramparts  to  the  back  scene 
must  be  used  for  the  figures  in  the  background  to  stand 
on.  Joan  of  Arc  should  be  tall  in  stature,  of  good  fig- 
ure, and  fine  looking,  with  large  black  eyes,  and  long- 
black  hair.  Costume  consists  of  a  crimson  skirt,  coat 
of  mail  buttoned  up  to  the  throat,  helmet  with  flowing 
plumes,  riding  gloves,  crimson  sash  across  the  breast, 
belt  and  side  arms.  The  banner  is  made  of  white 
cloth,  trimmed  with  crimson,  with  a  gold  cross  in  the 
centre,  and  a  gilt  spear,  and  tassels  on  the  end  of  the 
staff.  Sword  of  rich  design,  and  quite  long.  Her 
position  is,  near  the  cannon,  the  right  foot  on  the  top 
of  the  ramparts  or  cannon,  the  left  a  few  inches  lower, 
on  a  box  placed  behind  the  ramparts ;  the  body  bent 
forward ;  right  hand  grasping  a  sword  and  stretched 
out  at  arm's  length  towards  the  ceiling,  the  left  holding 
the  banner,  which  is  held  at  the  side  of  the  body ;  the 
head  slightly  turned  to  the  troops  at  the  right ;  eyes 
directed  partially  to  them ;  countenance  animated. 
Three  soldiers  in  uniform  —  the  prominent  colors  scar- 
let—  are  lying  on  the  ground  in  front  of  the  battle- 
ments. Wounds  should  be  imitated  on  the  head ;  one 
soldier  is  lying  across  the  cannon,  holding  a  rammer  in 
his  hand ;  two  others  are  stretched  out  on  the  battle- 
ments. The  costume  of  Joan's  soldiers  should  be  blue 
and  buff,  and  each  wearing  a  large  moustache.  Two 
platoons,  each  containing  five  soldiers,  are  in  the  act 
of  charging  over  the  ramparts  at  each  side  of  Joan  ; 
they  stand  two  feet  from  the  breastwork,  and  look 
16 


182  THE    TABLEAU. 

straight  forward.  One  soldier  on  each  side  is  in  the 
act  of  piercing  with  his  bayonet  the  soldiers  on  the 
breastwork.  The  background  is  filled  up  with  troops 
of  both  nations,  who  are  in  the  act  of  fencing  and  fir- 
ing their  muskets  at  the  enemy  in  the  distance ;  a 
variety  of  positions  should  be  taken,  to  make  the  scene 
as  attractive  and  life-like  as  possible.  The  booming  of 
cannon  and  rattle  of  musketry  may  be  imitated  in  the 
ante-rooms ;  a  slight  quantity  of  smoke  can  be  made  to 
hover  over  the  combatants  by  burning  a  small  quantity 
of  the  whitish  blue  fire  on  the  stage  before  the  curtain 
rises.  Care  must  be  taken  not  to  burn  too  much,  as  a 
great  quantity  of  smoke  will  hide  the  figures  from 
view.  The  scene  must  be  illuminated  by  a  brilliant 
red  fire  burned  on  the  side  of  the  stage  that  will  most 
reflect  on  Joan's  face.  The  piece  may  be  exhibited 
double  the  usual  length  of  time  of  other  tableaux,  and 
should  be  used  as  a  grand  finale. 


THE   PARTING.  183 


THE   PARTING. 

Ah  !  then  and  there  was  hurrying  to  and  fro, 
And  gathering  tears,  and  tremblings  of  distress, 
And  cheeks  all  pale,  which  but  an  hour  ago 
Blush'd  at  the  praise  of  their  own  loveliness. 
And  there  were  sudden  partings,  such  as  press 
The  life  from  out  young  hearts,  and  choking  sighs, 
Which  ne'er  might  be  repeated  —  Who  could  guess 
If  ever  more  should  meet,  those  mutual  eyes, 
Since  upon  night  so  sweet,  such  awful  morn  could  rise  ? 

BtKoy. 
One  Male  and  Two  Female  Figures. 

THIS  pretty  tableau  is  one  that  can  be  formed  with- 
out much  expense  or  trouble.  The  scene  represented 
is  a  young  knight,  about  to  leave  his  home,  his  wife, 
and  child,  to  fight  the  battles  of  his  country.  A  large 
flight  of  steps  fills  up  one  third  of  the  stage  at  the 
background.  These  can  be  made  by  placing  strips  of 
boards  on  boxes,  arranged  in  the  form  of  steps,  and 
covering  them  with  white  marble  or  light  stone 
paper;  at  one  side  of  the  stage  is  a  pedestal  three 
feet  high  and  eighteen  inches  square,  on  the  top  of 
which  is  a  large  vase  of  flowers.  A  box  covered 
with  marble  paper,  and  fresco  cornice,  will  answer  for 
the  pedestal,  while  a  large  earthen  jar,  painted  white, 
will  do  for  the  vase.  On  the  other  end  of  the  steps, 
two  marble  pillars  reach  from  the  upper  step  to  the 
ceiling,  and  a  couple  of  spruce  trees  placed  back  of  the 
steps,  at  each  end,  will  give  a  good  effect.  The  knight 
is  costumed  in  a  black  frock,  trimmed  around  the  bot- 
tom of  the  skirt  and  sleeves  with  purple  cambric,  a 


184  THE   TABLEAU. 

straight  collar  of  the  same  material,  ornamented  with 
gilt  buttons  and  paper  ;  belt  and  side  arms,  red  sash, 
riding  gloves,  purple  knee  breeches,  white  hose,  low 
shoes,  knee  and  shoe  buckles,  a  low  cap,  with  a  gilt 
band,  and  showy  plume  fastened  to  the  side  with 
a  brilliant  paste  pin ;  a  small  velvet  cape,  trimmed 
around  the  bottom  with  gold  paper,  is  worn  carelessly 
over  the  left  shoulder.  Position  is,  standing  on  the 
bottom  step,  facing  the  audience  ;  one  foot  rests  on  the 
floor  of  the  stage,  the  other  on  the  step ;  the  right  hand 
points  to  the  back  of  the  stage,  while  the  left  rests  on 
the  shoulder  of  his  wife,  who  stands  at  his  side ;  his 
body  is  bent  slightly  forward,  eyes  directed  to  those  of 
his  wife  ;  countenance  expresses  animation.  The  lady 
who  personates  the  wife  should  have  black,  curly  hair, 
good  figure,  medium  height,  and  regular  features. 
Costume  consists  of  a  blue  silk  dress,  velvet-waist,  hair 
arranged  in  curls,  and  ornamented  with  showy  hair 
pins.  Position  is,  at  the  side  of  her  husband,  two 
paces  in  advance,  and  in  such  position  that  a  side  view 
is  had  of  the  form ;  her  body  bent  forward,  so  that  her 
hands,  which  are  clasped,  will  rest  on  her  husband's 
shoulder,  head  thrown  back,  eyes  directed  to  those  of 
her  husband,  face  expressing  grief.  A  few  paces  to 
the  left  of  the  lady,  is  a  cradle,  containing  a  sleeping- 
child.  A  large  Newfoundland  dog  lies  quietly  watch- 
ing it.  The  scene  should  be  illuminated  by  a  purple 
fire  burned  near  the  front  of  the  stage.  Music  of  a 
martial  style. 


HAGAR   AND   ISHMAEL   IN   THE   WILDERNESS.         185 


HAGAR  AND  ISHMAEL  IN  THE  WILDERNESS. 

It  was  an  hour  of  rest !  but  Hagar  found 

No  shelter  in  the  wilderness,  and  on 

She  kept  her  weary  way,  until  the  boy 

Hung  down  his  head,  and  open'd  his  parch'd  lips 

For  water ;  but  she  could  not  give  it  him. 

She  laid  him  down  beneath  the  sultry  sky,  — 

For  it  was  better  than  the  close,  hot  breath 

Of  the  thick  pines,  —  and  tried  to  comfort  him ; 

But  he  was  sore  athirst,  and  his  blue  eyes 

"Were  dim  and  bloodshot,  and  he  could  not  know 

Why  God  denied  him  water  in  the  wild. 

She  sat  a  little  longer,  and  he  grew 

Ghastly  and  faint,  as  if  he  would  have  died. 

It  was  too  much  for  her.     She  lifted  him, 

And  bore  him  farther  on,  and  laid  his  head 

Beneath  the  shadow  of  a  desert  shrub  ; 

And,  shrouding  up  her  face,  she  went  away 

And  sat  to  watch  where  he  could  sec  her  not 

Till  he  should  die ;  and,  watching  him,  she  mourned :  — 

WILLIS. 

One  Female  and  One  Male  Figure. 

THIS  group  is  a  representation  of  Hagar  and  Ish- 
mael  in  the  wilderness,  and  is  designed  to  imitate 
sculpture.  The  circumstances  of  the  scene  are  well 
known  in  the  simple  narrative  of  the  Scriptures.  The 
boy,  weary  and  exhausted  by  imaccustomed  hardships 
and  suffering,  has  sunk  down  in  the  desert  to  die ;  but 
Hagar,  sustained  by  the  measureless  affection  of  a 
mother's  breast,  supports  the  fainting  form  of  her  son, 
and  has  just  put  aside  the  cup  now  drained  of  its  last 
precious  drops  of  water.  She  gazes  upon-  his  face, 
while  in  her  own,  hope  still  lingers,  before  yielding  to 
16* 


186  THE   TABLEAU. 

the  unutterable  anguish  of  despair.  The  lady  who 
personates  Hagar  should  be  of  good  figure  and  fea- 
tures, tall,  and  matronly.  Costume  consists  of  a  white 
dress,  cut  low  in  the  neck,  sleeves  five  inches  long,  a 
white  tarleton  scarf  worn  across  the  shoulders,  and 
tied  at  the  left  side,  the  hair  hanging  in  curls  on  the 
neck,  a  white  turban  on  the  head,  with  two  white  strips 
attached  to  the  side  and  passed  under  the  chin,  and 
white  sandals  laced  across  white  hose.  The  position  of 
Hagar  is  kneeling,  so  that  a  side  view  is  had  of  the 
face.  The  left  hand  sustains  the  head  of  Ishmael,  the 
right  is  extended  to  the  pitcher  which  stands  at  the 
side  of  the  group ;  the  head  is  bent  forward  consid- 
erably, eyes  fixed  on  those  of  the  boy,  countenance 
expressing  anxiety  and  hope.  A  young  lad  of  six 
years  of  age,  of  fair  complexion  and  long,  light, 
curly  hair,  is  required  to  personate  Ishmael.  He 
should  be  costumed  in  a  loose,  white  coat  or  frock, 
white  hose  and  sandals,  with  a  white  gauze  mantle 
draped  about  the  breast.  Ishmael's  position  is,  reclin- 
ing on  his  side,  one  leg  drawn  up  and  placed  across  the 
other,  the  left  arm  resting  on  the  ground,  supporting 
the  body,  the  right  lying  carelessly  at  the  side ;  the 
shoulders  rest  on  the  knee  of  Hagar,  head  thrown  back, 
and  resting  on  the  hand  of  Hagar,  eyes  closed,  mouth 
partially  open.  The  pitcher  should  be  of  white  por- 
celain, of  ancient  style.  The  group  is  formed  on  a 
square  or  round  pedestal,  five  feet  square  or  in 
diameter,  and  one  foot  high,  covered  with  whito  cloth 


THE   FIGHT   FOB  THE   STANDAED.  187 

or  marble  paper.  The  exposed  portions  of  the  figures 
must  be  made  as  white  as  possible  with  chalk.  Light 
soft,  and  come  from  the  side  of  the  stage.  Music  of  a 
plaintive  and  sacred  character. 


THE   FIGHT   FOR  THE   STANDARD. 

They  saw  the  princely  crest, 

They  saw  the  knightly  spear, 
The  banner,  and  the  mail-clad  breast, 

Borne  down,  and  trampled  here  : 
They  saw  —  and  glorying  there  they  stand, 

Eternal  records  to  the  land. 

MBS.  HEMAXS. 

Twelve  Male  Figures. 

THIS  thrilling  tableau  represents  a  death  struggle 
between  an  Arab  standard-bearer  and  a  French  soldier. 
The  Arab  grasps  the  standard  with  the  left  hand,  while 
the  right  holds  a  short  cimeter  at  arm's  length  ;  his 
body  is  bent  forward,  right  arm  extended  thirty  inches 
front  of  the  left,  and  eyes  directed  to  those  of  the  sol- 
dier, the  countenance  expressing  firmness  and  excite- 
ment. Costume  consists  of  a  long  white  coat  without 
sleeves,  trimmed  about  the  bottom  with  buff,  open  at 
the  top,  displaying  the  neck  and  chest  ;  a  heavy  red 
sash  wound  around  the  waist  ;  pants  of  light-blue,  cut 
quite  loose,  and  gathered  in  with  a  string  at  the  ankle  ; 
shoes  covered  with  red  cloth  ;  a  turban  on  the  head,  the 
top  of  which  is  white,  and  around  the  bottom  is  wound 
a  band  of  red  and  black  cloth,  with  the  ends  falling 


188  THE    TABLEAU. 

over  the  shoulders  ;  a  belt  and  scabbard  are  fastened  to 
the  waist.  The  sword  should  be  two  feet  long,  four 
inches  wide,  and  curve  from  hilt  to  point.  This  can 
be  made  of  tin  or  wood,  the  scabbard  of  card-board  or 
leather,  and  painted  red.  The  French  soldier's  cos- 
tume consists  of  blue  coat,  trimmed  and  faced  with 
buff,  gold  epaulets,  large  gilt  buttons,  white  pants  with 
stripe  of  red,  red  belt  and  long  scabbard,  hat  with 
plume  and  long,  straight  visor.  He  holds  in  his  right 
hand  a  long,  straight  sword,  while  the  left  grasps  the 
standard.  His  body  is  bent  forward,  and  faces  the 
audience,  the  right  foot  extended  front  of  the  left 
thirty  inches,  the  eyes  fixed  on  those  of  the  Arab, 
countenance  expressing  determination  and  rage.  The 
staff  on  which  the  flag  is  fastened  is  seven  feet  long, 
with  a  gilt  ball,  crescent,  and  tassels  at  the  top.  The 
flag  is  made  of  three  stripes,  one  of  light  yellow,  and 
two  of  light  red,  with  a  black  oval,  with  red  trimmings, 
in  the  centre.  The  flag  should  be  unfplded  so  as  to 
show  the  design,  but  gathered  in  at  the  centre  by  the 
hand  of  the  soldier.  Between  these  two  figures  are  a 
French  soldier  and  an  Arab  lying  dead  on  the  ground. 
Five  feet  behind  this  group,  and  at  the  right  of  the 
stage,  are  four  Arabs,  with  long  spears,  charging  on 
the  same  number  of  French  soldiers  opposite,  who  are 
holding  their  muskets  in  position,  ready  to  repel  the 
charge,  their  countenances  expressing  sternness,  their 
eyes  fixed  on  each  other.  Costumes  are  similar  to 
those  described.  Spears  can  be  made  of  wood,  with 
gilt  spear-heads.  The  skin  of  the  Arabs  must  be 


JONATHAN'S  VISIT  TO  HIS  CITY  COUSINS.        189 

stained  light  brown.  The  French  soldiers  should  wear 
large  mustaches.  A  slight  quantity  of  smoke  is  seen 
floating  in  the  background  ;  the  booming  of  cannon 
heard  in  the  distance.  The  scene  is  illuminated  by  a 
red  fire  at  the  side  of  the  stage.  Music  of  a  martial 
style. 


JONATHAN'S  VISIT  TO   HIS   CITY    COUSINS. 

One  Female  and  One  Male  Figure. 

THIS  comic  tableau  is  one  that  can  be  produced  at 
short  notice,  and  without  expense.  The  scene  to  be 
represented  is  a  parlor  furnished  with  sofa,  chairs, 
carpet,  pictures,  table,  and  a  melodeon,  which  is  placed 
on  the  side  of  the  stage.  A  sheet  of  music  is  resting 
on  the  rack,  arid  a  young  lady  is  seated  on  the  melo- 
deon stool,  body  facing  the  audience,  head  turned  to 
the  back  of  the  room,  both  hands  raised,  and  eyes  fixed 
on  a  young  man,  who  is  seated  on  the  sofa  in  the 
background.  Her  body  is  slightly  inclined  from  the 
young  man,  countenance  expressing  affright.  She 
should  be  costumed  in  a  showy  silk  dress.  The  gen- 
tleman's costume  consists  of  striped  pants,  reaching  with- 
in six  inches  of  the  foot,  red  straps,  thick  boots,  ancient 
style  swallow-skirted  coat,  short  striped  vest,  ruffle- 
bosomed  shirt,  standing  collar  reaching  to  the  ears,  large 
brass  chain  and  watch  seals  hanging  from  the  vest  pocket, 
large  red  silk  handkerchief  laid  across  the  knee,  and  a 


190  THE    TABLEAU. 

low-crowned  white  hat  in  the  hand.  Position  is,  seated 
on  the  sofa,  one  hand  placed  in  the  pants  pocket,  the 
other  resting  on  the  knee,  body  bent  forward,  eyes  fixed 
on  the  keys  of  the  melodeon,  countenance  expressing 
astonishment.  The  gentleman  best  adapted  for  this 
part  is  one  who  has  a  natural  talent  for  performing  in 
comedy.  Light  should  be  thrown  on  the  scene  from 
the  lower  end  of  the  side  of  the  stage,  and  of  medium 
brightness.  Music  of  a  spirited  character. 


THE   THREE   GRACES. 

Faith,  Hope,  and  Love,  now  dwell  on  earth, 

And  earth  by  them  is  blest  ; 
But  Faith  and  Hope  must  yield  to  Love, 

Of  all  the  graces  best. 

Three  Female  Figures. 

THIS  is  a  statuary  tableau,  and  is  represented  by 
three  young  and  beautiful  ladies  of  about  the  same 
height  and  figure,  with  regular  features  and  long  hair. 
Their  costume  consists  of  a  long  white  robe,  worn  with 
few  skirts,  and  cut  extremely  low  at  the  neck,  sleeves 
five  inches  long,  a  mantle  of  white  tarleton  muslin 
worn  across  the  breast,  tied  at  the  side,  and  allowed  to 
trail  on  the  floor  ;  the  hair  arranged  in  braids  at  the 
sides  of  the  head,  ornamented  with  large  beads,  clasped 
with  a  silver  band  behind,  and  allowed  to  hang  in  short 
curls  in  the  neck.  The  ornaments  should  be  entirely 


THE  GUARDIAN   ANGEL.  191 

white.  The  three  ladies  stand  on  a  pedestal  three  feet 
high,  and  four  feet  in  diameter  ;  this  must  be  covered 
with  black  or  green  marble  paper,  and  placed  in  the 
centre  of  the  stage.  The  centre  lady  stands  facing  the 
audience,  with  the  right  hand  raised  above  the  head  ; 
the  left  clasps  the  hand  of  the  lady  at  the  left  side, 
who  is  looking  into  the  eyes  of  the  figure  at  the  right, 
and  rests  her  right  hand  on  the  shoulder  of  the  centre 
figure.  The  figure  on  the  other  side  stands  in  a  grace- 
ful position,  resting  her  hands  on  the  shoulder  of  the 
centre  figure,  and  looking  into  her  face.  The  coun- 
tenances of  the  three  should  express  pleasure.  The 
light  for  the  piece  must  be  soft  and  mellow,  and  come 
from  the  side  of  the  stage.  Music  low  and  plaintive. 


THE   GUARDIAN  ANGEL. 

Angels,  joyful  to  attend, 
Hovering  round  thy  pillow  bend, 
"Wait  to  catch  the  signal  given, 
And  convey  thee  quick  to  heaven. 

One  Female  and  One  Male  Figure. 

THIS  is  a  most  pleasing  tableau,  and  represents  the 
good  angel,  in  whose  existence  and  controlling  power 
there  is  scarce  any  one  so  rude  as  not  to  believe, 
attending  a  young  boy,  who  looks  reverently  upward, 
to  heed  the  admonitions  of  his  celestial  companion. 
The  lady  who  personates  the  angel  should  be  of  good 


192  THE   TABLEAU. 

figure,  tall  and  slim,  with  fine  features,  and  light  curly 
hair.     Costume  consists  of  a  loose  white  dress,  over 
which  is  worn  a  robe  of  white  tarleton  muslin ;  these 
should  be  cut  quite  low  in  the  neck,  and  long  at  the 
bottom  ;  sleeves  long,  and  fitting  tight  to  the  arms ;  a 
wide  mantle  of  tarleton  muslin  worn  across  the  breast, 
and  allowed  to  trail  with  the  dress  at  the  side.     Large 
wings,  formed  of  wire,  covered  with  white  muslin,  and 
ornamented  with   spangles,  must  be   fastened  to  the 
back  of  the  waist.     The  hair  should  hang  in  ringlets, 
and  be  encircled  with  a  band  of  silver.     The  boy  must 
be  of  small  stature,  good  features,  and  have  long,  light, 
curly  hair.     Costume  consists  of  a  loose  short  frock, 
made  of  white  cloth,  trimmed  around  the  collar  and 
ends  of  sleeves  with  white  lace ;  white  breeches,  white 
hose,  white  shoes,  and  a  small  satin  sash  about  the 
waist.     Both  of  the  figures    stand  on  -a  pedestal  two 
feet  high  by  three  square,  which  should  be  covered 
with  black  marble  paper.     The  angel   stands  in  the 
centre  of  the  pedestal,  the   left  hand  resting  on  the 
boy's  left  shoulder,  the  right  hand  on  his  right  shoul- 
der.    Her  head  is  turned  away  to  the  left,  the  eyes 
fixed  on  the  floor,  the  countenance  pleasant.     The  boy 
stands  a  little  to  the  right  of  the  angel,  arms  crossed 
on  his  breast,  head  turned  sideways,  and  slightly  back, 
eyes  fixed  on  the  face  of  the  angel.     The  crimson  cur- 
tains, without  the  fairies,  that  are  used  in  the  tableau 
of  the  "  Dancing  Girl  in  Repose,"  may  be  placed  over 
the  group.     The  side  curtains  can  be  held  up  at  the 
side   by  crimson   bands      A  curtain  of  white  gauze, 


THE  PYRAMID  OP  BEAUTY.  193 

drawn  across  the  front  of  the  stage,  will  give  a  good 
effect  to  the  tableau.  The  light  should  be  of  medium 
brilliancy,  and  come  from  the  front  side  of  the  stage. 
Music  soft,  and  of  a  sacred  character. 


THE   PYRAMID  OF  BEAUTY. 

Beauty  is  as  crystal  in  the  torchlight,  sparkling  on  the  poet's  page  ; 

Virgin  honey  of  Hymettus,  distilled  from  the  lips  of  the  orator  ; 

A  savor  of  sweet  spikenard,  anointing  the  hands  of  liberality  ; 

A  feast  of  angel's-food  set  upon  the  tables  of  religion. 

She  is  seen  in  the  tear  of  sorrow,  and  heard  in  the  exuberance  of  mirth  ; 

She  goeth  out  early  with  the  huntsman,  and  watcheth  at  the  pillow  of  disease. 

Science,  in  his  secret  laws,  hath  found  out  latent  beauty  ; 
Sphere  and  square,  and  cone  and  curve,  are  fashioned  by  her  rules  : 
Mechanism  met  her  in  his  forces,  fancy  caught  her  in  its  fittings, 
Day  is  lightened  by  her  eyes,  and  her  eyelids  close  upon  the  night. 

Beauty  is  dependence  in  the  babe,  a  toothless  tender  nursling  ; 
Beauty  is  boldness  in  the  boy,  a  curly  rosy  truant  ; 
Beauty  is  modesty  and  grace  in  fair  retiring  girlhood  ; 
Beauty  is  openness  and  strength  in  pure  high-minded  youth  ; 
Man,  the  noble  and  intelligent,  gladdeneth  earth  in  beauty, 
And  woman's  beauty  sunneth  him,  as  with  a  smile  from  heaven. 

TCPPKR. 

Fifteen  Female  Figures. 

THIS  fine  tableau  contains  fifteen  female  figures,  who 
are  arranged  in  the  form  of  a  pyramid.  They  should 
be  quite  young,  of  good  figure  and  features.  Their 
costume  consists  of  a  pure  white  dress5  cut  low  in  the 
neck,  sleeves  five  inches  long,  a  white  satin  sash  about 
the  waist,  white  shoes  and  hose,  hair  done  up  in  a 
compact  and  tasty  manner,  and  encircled  with  a  wreath 
17 


194  THE   TABLEAU. 

of  myrtle,  while  a  small  bouquet  of  flowers  is  placed 
oil  the  front  of  the  waist.  The  pyramid  must  be  first 
formed  of  boxes,  fastened  firmly  together,  and  covered 
with  white  cloth ;  five  ladies  of  the  same  height  sit  on 
the  lower  seat,  four  on  the  second  seat,  three  on  the 
third  seat,  two  on  the  fourth,  and  one  on  the  fifth  and 
last.  Each  should  be  furnished  with  a  garland  of 
flowers  fastened  to  ratan  three  feet  long ;  these  must 
be  held  in  the  hands  of  the  ladies,  making  a  complete 
network  of  flowers.  The  eyes  should  be  directed 
straight  forward,  countenance  pleasant.  The  lights  for 
this*piece  are  as  follows :  Just  as  the  curtain  begins 
to  rise,  a  green  fire  should  be  gradually  thrown  on  to 
the  stage,  and  slowly  moved  off;  at  the  moment  it  is 
leaving  the  picture,  a  red  light  steals  over  the  faces  of 
the  performers ;  this  shade  vanishes  in  the  same  man- 
ner, and  a  purple  light  appears.  This  will  give  a 
happy  effect,  and  can  be  accomplished  by  burning  the 
fires  in  large  boxes  placed  on  pivots  at  the  side  of  the 
stage,  and  by  turning  them  at  the  proper  time  the  dif- 
ferent colors  can  be  thrown  on  the  stage ;  a  few  of 
the  side  or  footlights  may  be  burned  at  the  same 
time,  so  that  when  the  colored  lights  are  leaving  the 
stage,  the  figures  will  still  be  seen.  Music  accompany- 
ing the  tableau,  must  be  soft  and  plaintive. 


CORONATION  OF  QUEEN   VICTORIA.  195 


CORONATION  OF   QUEEN  VICTORIA. 

Within  that  rich  pavilion, 

High  on  a  glittering  throne, 
A  woman's  form  sat  silently, 

'Midst  the  glare  of  light  alone. 
Her  jewell'd  robes  fell  strangely  still  — 

The  drapery  on  her  breast 
Seem'd  with  no  pulse  beneath  to  thrill, 

So  stone-like  was  its  rest ! 

But  a  peal  of  lordly  music 

Shook  e'en  the  dust  below, 
When  the  burning  gold  of  the  diadem 

Was  set  on  her  pallid  brow ! 
Then  died  away  that  haughty  sound, 

And  from  the  encircling  band 
Step  Prince  and  Chief,  'midst  the  hush  profound, 

With  homage  to  her  hand. 

MBS.  HEMANS. 

Twenty  Male  and  Ten  Female  Figures. 

THIS  magnificent  tableau  contains  thirty  figures,  and, 
when  exhibited  with  proper  scenery  and  wardrobe, 
is  one  of  the  best  of  this  collection.  It  should  be  used 
as  a  grand  finale  scene,  and  is  arranged  in  the  following 
manner :  A  number  of  gentlemen's  costumes  must  be 
procured  at  a  costumer's  or  a  theatre.  Ladies'  cos- 
tumes can  be  easily  prepared. 

At  the  back  of  the  stage,  at  equal  distances  between 
the  sides,  erect  a  throne.  First  build  a  platform  five 
feet  long,  three  feet  wide,  and  three  feet  high,  with 
steps  in  front,  all  of  which  must  be  covered  with  crim- 
son cloth  and  gold  paper.  Over  the  platform  place  a 
canopy  made  of  purple  cloth,  and  decorated  with  gold 


196  THE   TABLEAU. 

paper,  cut  to  represent  fringe.  Cover  the  wall  back  of 
the  platform  with  the  same  material,  and  in  the  centre 
place  a  large  gold  V ;  a  large  chair,  trimmed  with 
scarlet  and  gold,  should  be  placed  on  the  platform,  and 
tiers  of  seats  arranged  on  each  side  of  the  throne  ; 
these  must  form  half  circles,  reaching  to  the  centre  of 
the  stage  at  the  sides.  Seated  and  standing  on  the  seats 
and  platforms  are  the  ambassadors,  dukes,  earls,  and 
officers,  in  their  full  dress.  The  queen  dowager  and 
other  royal  female  personages  are  intermingled  among 
them.  The  lord  steward,  and  chamberlain  stand  near 
the  side  scenes  in  the  foreground,  while  the  extreme 
background  is  filled  up  by  the  queen's  guards.  Stand- 
ing on  the  step  in  front  of  the  throne  is  the  archbishop, 
holding  the  crown.  A  little  to  the  left  stands  Victoria, 
her  body  facing  the  audience,  and  bent  forward  slightly, 
head  bowed,  ready  to  receive  the  crown.  At  the  other 
side  of  the  throne  stands  Prince  Albert,  dressed  in  rich 
uniform.  The  ladies'  costumes  consist  of  rich  silks 
and  brocades,  ornamented  with  gold  lace,  paste  pins, 
brooches,  &c.  ;  the  hair  arranged  to  suit  the  taste  of 
the  performers,  and  encirled  with  a  band  of  gold,  to 
which  fasten  a  colored  plume.  The  attention  of  all 
should  be  directed  to  the  queen.  The  archbishop's 
costume  consists  of  a  black  robe,  large  white  sleeves, 
white  handkerchief,  with  square  ends,  hanging  on  the 
breast,  and  white  wig.  Queen  Victoria's  costume,  if 
not  procured  at  a  costumer's,  consists  of  a  white  satin 
or  silk  dress,  with  a  long  trail,  and  four  flounces  on  the 
skirt,  each  flounce  ornamented  with  a  band  of  gold 


CORONATION  OF  QUEEN  VICTORIA.  197 

paper  three  inches  wide,  covered  with  open  lace.  The  top 
of  the  waist  and  bottom  of  the  sleeves  decorated  in  the 
same  manner.  A  belt  of  crimson  velvet,  covered  with 
spangles  and  small  paste  pins,  encircles  the  waist ;  the 
sleeves  should  be  open,  and  fastened  across  with  gilt 
cord,  terminating  in  tassels,  which  fall  on  the  arms  ; 
white  kid  gloves,  bound  around  the  top  with  a  band  of 
silver,  ornamented  with  wax  beads  and  spangles ;  a 
long  ermine  scarf  should  be  thrown  gracefully  over 
the  shoulders,  and  trail  to  the  floor.  The  ermine  can 
be  imitated  by  inserting  small  pieces  of  black  shag  in 
white  cotton  flannel.  The  hair  may  be  done  up  in  a 
neat  coil,  and  ornamented  with  wax  beads  and  gilt  pins. 
A  long  white  veil  of  lace  is  fastened  to  the  back  of  the 
head,  and  allowed  to  trail  to  the  feet.  The  crown  can 
be  made  of  card-board,  covered  with  gold  paper  and 
brilliant  paste  pins.  The  steward  and  chamberlain  each 
holds  a  staff  with  a  large  gilt  spear-head  and  tassels 
at  the  top.  Costume  consists  of  showy  suits,  similar 
in  style,  head  covered  with  low-crowned  Kossuth  hat, 
ornamented  with  a  gold  band  and  white  lace.  The 
guards  must  be  placed  in  the  extreme  background,  on 
high  platforms ;  they  stand  perfectly  erect,  and  face 
the  audience.  The  scene  should  be  brilliantly  lighted 
by  lamps  at  the  front  and  left  side  of  the  stage.  The 
booming  of  cannon  is  heard  in  the  distance.  Music  of 
a  majestic  style. 

17* 


198  THE  TABLEAU. 


THE   BRIGANDS. 

The  gray  morn. 

Dawns  on  the  scene;  the-sulphurous  smoke 
Before  .the  wind  slow  rolls  away, 
And  the  bright  beams  of  morning  dance 
Along  the  spangled  snow. '  There  scattered  arms, 
And  lifeless  warriors,  whose  hard  lineaments 
•  Death's  self  could  change  not,  mark  the  dreadful  path 

Of  the  outsallying  victors. 

SHELLIT. 

One  Female  and  Five  Male  Figures. 

A  SCENE  representing  a  band  of  brigands  in  their 
mountain  fastness,  on  the  watch  for  plunder  and  rap- 
ine. The  scenery  in  the  background  should  resemble 
ragged  rocks,  made  by  fastening  brown  paper  in  a 
rumpled  manner  to  a  frame  of  wood,  and  shaded  with 
light  and  dark-brown  paints.  This  must  extend  two 
thirds  across  the  stage,  three  feet  from  the  extreme 
background.  The  sides  should  be  covered  with  sim- 
ilar scenery.  The  floor  is  strown  with  small  boxes,  to 
give  it  an  uneven  appearance,  and  covered  with  buffalo 
robes.  Two  of  the  brigands  are  seated  at  one  side  of 
the  stage,  engaged  in  playing  cards ;  one  is  reclining  in 
the  foreground  asleep ;  another  is  leaning  against  the 
rocks,  resting  his  arms  and  body  on  his  carbine,  while 
the  chief  is  standing  at  the  end  of  the  ledge  in  the 
background,  pointing  with  his  right  hand  into  the  open 
space  beyond.  Behind  him  stands  his  wife,  to  whom 
he  is  in  the  act  of  speaking,  and  directing  her  attention 
to  the  road  in  the  distance.  She  is  stooping  forward, 


THE   BRIGANDS.  199 

endeavoring  to  see  the  objects  -which  he  points  out. 
The  costume  of  the  brigands  consists  of  a  frock  coat  or- 
namented with  large  gilt  buttons,  and  trimmed  around 
the  bottom  with  colored  cloth ;  bright-colored  vest  bound 
around  the  front  and  bottom  with  fancy  ribbon ;  black 
handkerchief  tied  loosely  in  the  neck ;  knee  breeches 
and  hose,  with  a  band  of  showy  cloth  around  the  top, 
fastened  with  a  brilliant  paste  pin  or  silver  buckle  ;  low 
shoes  ;  red  or  blue  sash  about  the  waist ;  high-crowned 
black  felt  hat,  ornamented  with  red  binding,  wound  in 
a  spiral  manner  from  the  rim  to  the  top  of  the  hat, 
and  a  colored  feather  at  the  side.  The  coat  can  be 
decorated  in  a  more  profuse  manner,  if  desired  ;  each 
must  be  furnished  with  musket  and  pistols.  The 
chief's  dress  should  be  of  richer  material,  and  more 
profusely  decorated  than  the  other  characters.  The 
wife's  costume  consists  of  a  scarlet  skirt,  black  vel- 
vet waist  open  in  front  and  laced  across  with  pink 
ribbon,  a  showy  scarf  tied  about  the  head,  the  ends 
falling  on  the  shoulders  ;  the  neck  and  arms  orna- 
mented with  brilliant  jewelry ;  a  morocco  belt  encircles 
the  waist,  to  which  is  attached  a  small  dirk.  The  two 
card-players  are  looking  at  their  cards,  countenances 
expressing  deep  thought.  The  one  who  stands  facing 
the  audience  looks  to  the  floor-.  The  one  that  is 
asleep  should  lie  in  a  position  so  that  the  countenance 
can  be  seen,  the  head  resting  on  the  hand,  eyes  closed. 
The  wife's  position  is,  standing  so  that  a  side  view  of 
the  countenance  is  had.  The  chief  stands  in  front  of 
her,  and  in  the  same  position,  but  the  head  is  turned 


200  THE   TABLEAU. 

around  so  as  to  face  the  audience  ;  the  countenances  of 
both  expressing  curiosity  and  excitement.  The  face 
and  other  exposed  parts  of  the  persons  of  all  the  fig- 
ures must  be  colored  light-brown,  and  the  men  wear 
heavy  beards.  The  light  for  this  sce,ne  should  come 
from  a  red  fire,  burned  in  small  quantities  at  the  front 
side  of  the  stage.  No  music  will  be  required  for  the 
piece. 


DEATH   OF   SIR  JOHN  MOOEE. 

Not  a  drum  was  heard,  not  a  funeral  note, 
As  his  corpse  to  the  ramparts  we  hurried, 

Not  a  soldier  discharged  his  farewell  shot 
O'er  the  grave  where  our  hero  was  buried. 

WOLFE. 

Twenty  Male  Figures. 

THE  battle  of  Comnna,  so  disastrous  to  the  British 
army,  was  fought  January  16,  1809.  Sir  John  Moore 
arrived  in  Spain  in  November,  1808,  with  a  British 
army,  and  having  advanced  some  distance  into  the 
country,  he  found  himself  compelled  to  make  a  rapid 
retreat.  He  was  closely  followed  by  the  French  under 
Marshal  Soult,  who  attacked  the  British  as  they  were 
embarking.  Sir  John  Moore,  while  earnestly  watching 
the  result  of  the  fight  about  the  village  of  Elrina,  was 
struck  on  the  left  breast  by  a  cannon  shot  ;  the  shock 
threw  him  from  his  horse  with  violence  ;  he  rose  again 
in  a  sitting  position,  his  countenance  unchanged,  and 
his  steadfast  eye  still  fixed  upon  the  regiments  engaged 


DEATH   OP  SIR  JOHN  MOORE.  201 

in  his  front ;  no  sigh  betrayed  a  sensation  of  pain  ;  but 
in  a  few  moments,  when  he  was  satisfied  that  the  troops 
were  gaining  ground,  his  countenance  brightened,  and 
he  suffered  himself  to  be  taken  to  the  rear.     As  the 
soldiers  placed  him  in   a  blanket,  his   sword   got  en- 
tangled, and  the  hilt  entered  the  wound.     A  staff  offi- 
cer attempted  to  take  it  off,  but  the  dying  man  stopped 
him,  saying,  "  It  is  as  well  as  it  is.     I  had  rather  it 
should  go  out  of  the  field  with  me."     And  in  this  man- 
ner, so  becoming  to  a  soldier,  Moore  was  borne  from 
the  field.     Several  times  he  caused  his  attendants  to 
stop  and  turn  him  around,  that  he  might  behold  the 
field  of  battle.     Night  soon  darkened  the  scene ;  the 
rumbling  of  baggage  wagons,  and  the  occasional  boom- 
ing of  the  distant  cannon,  alone  disturbed  the  mourn- 
ful silence  of  the  scene  ;  here  and  there  the  flames  of 
burning  villages  shed  a  portentous  light  through  the 
gloom.     At    length,   to    break   the  mournful   silence, 
and  to  express  the  sympathy  they  might  not  speak,  the 
band  played  a  requiem  for  the  dying  general.     The 
solemn  strains  arose  and  fell  in  prolonged  echoes  over 
the  field,  and  swept  in  softened  cadences  on  the  ear  of 
the  dying  warrior.     Moore  breathed  faintly  for  a  few 
hours,  and  before  the  morning  dawned  he  had  passed 
away.     His  corpse  was  wrapped  in  his  military  cloak, 
and  was  interred  by  the  officers  of  his  staff  on  the  ram- 
parts of  Corunna  —  an  event  which  is  commemorated 
in  the  beautiful  verses  of  Wolfe,  the  guns  of  the  en- 
emy paying  him  funeral  honors.     Soult,  with  a  noble 
feeling  of  respect  for  his  valor,  raised  a  monument  to 


202  THE   TABLEAU. 

his  memory.  Thus  ended  the  career  of  Sir  John  Moore, 
a  man  whose  uncommon  capacity  was  sustained  by  the 
purest  virtue.  His  tall,  graceful  person,  dark,  search- 
ing eyes,  strongly  denned  forehead,  and  singularly 
expressive  mouth,  indicated  a  noble  disposition  and  a 
refined  understanding.  He  maintained  the  right  with 
a  vehemence  bordering  upon  fierceness,  and  every 
important  transaction  in  which  he  engaged  increased 
his  reputation  for  talent,  and  confirmed  his  character 
as  a  stern  enemy  to  vice,  a  steadfast  friend  to  merit,  a 
just  and  faithful  servant  of  his  country. 

Description  of  Tableau.  —  This  magnificent  scene 
contains  twenty  figures.  On  the  centre  of  the  stage, 
reclining  on  an  English  flag,  is  Sir  John  Moore,  his 
countenance  pale  and  deathly.  He  is  dressed  in  rich 
uniform,  which  is  described  in  the  latter  part  of  the 
tableau.  His  position  is,  lying  across  the  stage,  his 
face  turned  to  the  audience.  At  his  feet  stand  two 
Highland  soldiers,  leaning  on  their  muskets,  and  gaz- 
ing on  the  dying  man.  A  soldier  with  a  bandage 
around  his  head  is  kneeling  in  front  of  them ;  one 
hand  grasps  the  flag,  the  other  points  to  the  back- 
ground ;  countenance  expressing  terror.  At  the  head 
of  Moore,  partially  stooping  and  holding  the  end  of  the 
flag,  are  two  officers  in  full  uniform ;  two  other  officers 
are  seen  back  of  the  body,  who  are  also  grasping  the 
flag  and  gazing  on  the  face  of  the  dying  hero ;  three 
soldiers  are  kneeling  in  the  foreground,  their  attention 
fixed  on  Moore  ;  back  of  this  group,  on  a  platform  one 
foot  high,  is  seen  a  platoon  of  soldiers,  one  of  which 


THE  FIREMAN'S  RESCUE.  203 

holds  an  ensign;  their  backs  should  be  towards  the 
audience,  muskets  to  the  shoulder,  and  position  of  sol- 
diers marching  hastily  from  the  field  in  retreat ;  still 
further  in  the  background,  on  a  platform  four  feet  high, 
is  placed  a  second  platoon,  who  are  in  the  same  posi- 
tion ;  one  or  two  in  each  rank  are  looking  back  to  the 
group  in  front ;  two  soldiers  directly  back  of  Moore  are 
levelling  their  muskets  to  the  enemy  in  the  distance. 
Cannon,  muskets,  drums,  and  swords  should  be  strown 
carelessly  on  the  stage,  while  a  small  quantity  of  smoke 
must  be  made  to  hover  over  the  scene,  and  the  booming 
of  cannon  imitated  in  the  distance.  Moore  has  one 
hand  pressed  to  his  breast ;  the  other  is  held  by  one  of 
the  officers  at  his  side.  The  costumes  of  the  officers 
should  be  as  varied  and  brilliant  as  can  be  procured. 
Scarlet  coats  would  be  most  appropriate.  The  scene 
must  be  illuminated  by  a  red  fire  burned  at  the  right 
side  of  the  stage.  Music  of  a  mournful  and  sacred 
order. 


THE   FIREMAN'S   RESCUE. 

And  the  flames  in  thick  wreaths  mounted  higher  and  higher ; 
O  God !  it  is  fearful  to  perish  by  fire. 

Two  Female  and  Eight  Male  Figures. 

THIS  tableau  represents  a  dwelling-house,  the  inte- 
rior of  which  is  enveloped  in  flames.  The  front  door 
stands  open,  displaying  a  flight  of  steps,  on  which  is  a 


204  THE   TABLEAU. 

heroic  fireman  descending  from  the  burning  chamber, 
with  a  beautiful  child  clasped  in  his  arms,  which  he 
has  rescued  from  the  raging  element.  Kneeling  on 
the  step  outside  of  the  door  are  the  parents  of  the 
child;  their  hands  are  clasped  and  raised  upward, 
their  eyes  fixed  on  the  doorway,  countenance  express- 
ing intense  excitement.  Two  firemen  in  the  fore- 
ground are  seen  holding  a  hose  pipe  and  hose  ;  two 
others,  at  the  extreme  end  of  the  stage,  are  screwing 
the  other  end  of  the  hose  to  a  hydrant ;  another  stands 
ready  with  an  axe  to  break  in  the  windows.  The  cap- 
tain's position  is  on  the  step  of  the  house  ;  he  holds  a 
trumpet  in  his  hand,  and  is  giving  orders  to  his  men. 
The  firemen  should  be  dressed  in  full  uniform,  the 
mother  in  white,  and  hair  hanging  loose  over  the 
shoulders ;  the  father's  costume  should  be  dark,  and 
the  child  dressed  in  a  long  white  robe.  The  scenery  of 
this  piece  consists  of  a  frame  the  width  of  the  stage, 
and  rising  from  the  floor  to  the  ceiling,  painted  to 
represent  brick,  with  mouldings,  frame,  cornice,  &c. 
A  door  may  be  placed  in  the  centre,  and  a  window 
on  each  side.  The  stairs  should  be  as  wide  as  the  door, 
and  run  up  five  feet,  and  covered  with  carpeting ;  fire 
and  smoke  must  be  painted  as  coming  from  the  win- 
dows. A  red  fire  burned  behind  the  back  scene  will 
light  it  up  with  fine  effect.  The  light  for  the  front  of 
the  picture  should  be  of  medium  brightness,  and  come 
from  the  side  of  the  stage.  Fire  bells  can  be  imitated 
in  the  ante-rooms. 


CATHARINE  DOUGLASS  BARKING  THE  DOOR.    205 


CATHARINE   DOUGLASS   BARRING    THE   DOOR 
WITH   HER  ARM. 

Though  perils  did 

Abound,  as  thick  as  thought  could  make  'em,  and 
Appear  in  forms  more  horrid ;  yet  my  duty, 
As  doth  a  rock  against  the  chiding  flood, 
Should  the  approach  of  this  wild  river  break, 
And  stand  unshaken  yours. 

SHAKSPEAKE. 

One  Female  and  Six  Male  Figures. 

UNATTENDED  even  by  a  body  guard,  and  confiding  in 
the  love  of  his  subjects,  James  I.  of  Scotland  was 
residing  within  the  walls  of  the  Carthusian  monastery 
at  Scone.  Graham  of  Stratham  seized  the  occasion, 
and  brought  down  a  party  by  night  to  the  neighbor- 
hood. Seconded  by  traitors  within,  he  gained  posses- 
sion of  the  gates  and  interior  passages.  The  king's 
first  intimation  was  from  his  cup-bearer,  who,  on  leaving 
the  king's  chamber,  found  the  passage  crowded  by 
armed  men,  who  answered  his  cry  of  alarm  by  striking 
him  dead.  The  noise  reached  the  royal  chamber  ;  a 
rush  of  the  assassins  followed ;  and  Catharine  Doug- 
lass, one  of  the  queen's  inaids  of  honor,  springing  for- 
ward to  bolt  the  door,  found  the  bar  had  been  clan- 
destinely removed.  With  resolute  self-devotion  she 
supplied  the  place  with  her  naked  arm.  —  To  present  a 
view  of  the  interior  of  the  room,  and  the  passage  out- 
side, it  will  be  necessary  to  place  a  partition  from  the 
front  of  the  stage,  near  the  footlights,  to  the  left  hand 
18 


206  THE   TABLEAU. 

corner  in  the  background.  In  the  smallest  apartment 
stands  Catharine  Douglass.  The  partition  running  in 
this  manner  will  give  to  the  audience  a  view  of  the 
door  and  iron  fastenings  through  which  the  arm  of  the 
heroine  passes,  and  also  the  passage  where  the  assas- 
sins stand.  The  partition  should  be  made  of  light 
strips  of  wood,  covered  with  cheap  cloth,  and  painted 
to  imitate  the  interior  of  a  room.  The  door  must  be 
quite  near  the  front,  of  Gothic  form,  studded  with 
large  nails;  two  iron  sockets,  four  inches  square, 
should  be  placed  on  the  door  and  frame ;  a  mahog- 
any table,  globe  lamp,  chairs,  carpets,  and  engravings 
may  be  placed  in  the  inner  room ;  the  outer  apartment 
should  be  empty.  The  lady  who  personates  the  heroine 
must  be  of  good  figure,  tall  and  stout,  fine  features, 
and  have  long  black  hair.  Costume  consists  of  a  blue 
silk  dress,  pink  waist,  sleeves  five  inches  long,  bordered 
on  the  edge  with  black  crape,  under  sleeves  of  white 
tarleton  muslin  reaching  to  the  wrist,  a  yellow  scarf 
tied  loosely  around  the  waist,  hair  flowing  loosely  over 
the  shoulders,  a  plaid  scarf  fringed  on  the  ends  with 
gold,  bound  around  the  head,  the  ends  hanging  in  the 
neck.  Position,  facing  the  audience,  the  right  arm 
bare,  and  thrust  through  the  first  socket,  the  hand 
grasping  the  second ;  the  left  is  pressed  against  the 
door  above  the  fastening  ;  the  head  inclined  towards  the 
door,  body  perfectly  upright,  eyes  looking  straight  for- 
ward with  intensity,  countenance  expressing  firmness. 
The  assassins,  to  the  number  of  six,  stand  around  the 
outside  of  the  door  ;  each  is  costumed  in  a  black  coat 
trimmed  around  the  edge  and  collar  with  green,  and 


THE   MASQUERADE  BALL.  207 

ornamented  with  large  gilt  buttons  ;  colored  vests,  cut 
very  long  and  trimmed  with  black  binding,  knee 
breeches  of  light  color,  black  hose,  and  a  band  of 
bright-colored  cloth  around  the  top,  low  shoes,  shoe  and 
knee  buckles,  black  felt  hat  turned  up  at  one  side  and 
ornamented  with  a  colored  plume  and  gilt  band,  belt 
around  the  waist,  side  arms  and  pistols  ;  the  face  cov- 
ered with  a  shaggy  beard.  Each  one  grasps  a  sword, 
and  is  in  the  act  of  running  towards  the  door,  the  left 
hand  extended,  the  right  with  the  sword  raised  on 
high,  eyes  directed  to  the  door,  countenance  expressing 
excitement.  The  light  should  come  from  both  sides  of 
the  stage,  the  room  in  which  the  heroine  stands  being 
the  lightest.  Music  wild  and  animating. 


THE  MASQUERADE   BALL. 

'Tis  known  —  at  least  it  should  be  —  that  throughout 
All  countries  of  the  Catholic  persuasion, 
Some  weeks  before  Shrove  Tuesday  comes  about, 
The  people  take  their  fill  of  recreation, 
And  by  repentance,  ere  they  grow  devout, 
However  high  their  rank  or  low  their  station, 
With  fiddling,  feasting,  dancing,  drinking,  masking, 
And  other  things  which  may  be  had  for  asking. 


Ten  Female  and  Twelve  Male  Figures. 

THE  masked  balls,  which  supersede  any  other  feature 
of  the  carnival  in  attraction,  were  introduced  under 
the  reign  of  the  Due  d'Orleans.  A  great  inconven- 
ience was  experienced  in  the  want  of  an  apartment 


208  THE   TABLEAU. 

sufficiently  spacious  to  receive  the  hundreds  which 
thronged  to  them.  At  length  the  Chevalier  de  Bouillon 
conceived  a  plan  of  converting  the  opera  house  into 
a  ball  room,  and  a  friar  named  Sebastian  invented  the 
means  of  elevating  the  floor  of  the  pit  to  a  level  with 
the  stage,  lowering  it  at  pleasure.  The  project  suc- 
ceeded, and  the  first  masked  ball  at  Paris  was  held  on 
the  2d  of  January,  1716.  They  are  now  given  both 
before  and  during  the  carnival,  at  nearly  all  the  theatres 
in  Paris,  as  well  as  at  most  of  the  large  ball  rooms.  The 
leading  masquerade  ball  of  the  carnival,  which  reunites 
the  best  society  and  the  most  gorgeous  costumes,  is 
decidedly  that  which  takes  place  at  the  Academy  of 
Music  or  French  Opera  House.  The  greater  portion  of 
the  company  go  in  character,  although  gentlemen  may 
appear  in  plain  clothes,  if  they  choose,  and  unmasked. 
Dancing  appears  to  be  the  whole  and  sole  motive  of  the 
guests,  and  dance  they  do,  with  a  vivacity  and  untiring 
spirit  that  could  only  be  found  in  a  land  so  especially 
devoted  to  the  worship  of  Terpsichore  as  France.  In 
all  the  ball  rooms  parties  of  the  Municipal  Guard  are 
in  attendance  to  preserve  order,  and  should  any  of  the 
guests  transgress  the  ordinary  rules  of  decorum,  they 
are  immediately  consigned  to  the  lock-up  of  the  nearest 
corps-du~garde.  The  most  prevalent  dress  at  the  balls 
is  that  of  the  Debardeur.  It  is  a  piquant  costume,  and 
consists  of  dark  velvet  pantaloons,  with  satin  stripe 
down  the  side,  ornamented  with  bright  studs,  a  pink  or 
white  shirt,  red  sash,  and  a  glazed  hat  with  tri-colored 
streamers,  or  small  bonnet  and  wig,  with  cue  behind. 


IRISH   COUETSHIP.  209 

Considerably  more  than  half  of  the  carnival  masques 
take  up  this  dress,  the  remainder  attiring  themselves 
as  hussars,  pierrots,  and  all  sorts  of  eccentric  and 
anomalous  costumes.  The  balls  are  kept  up  until  six 
o'clock  in  the  morning. 

This  tableau  can  be  represented  by  ten  couples.  The 
ladies  and  gentlemen  can  dress  to  suit  their  own  taste. 
The  wardrobe  of  the  company  will  contain  a  sufficient 
number  of  suits  to  fit  out  the  tableau.  A  few  of  the 
comic  and  grotesque  costumes  should  be  intermin- 
gled, and  all  the  figures  wear  masks  of  various  pat- 
terns. The  performers  are  engaged  in  dancing  the 
schottische.  The  ladies  and  gentlemen  must  form  in 
couples  around  the  sides  and  back  of  the  stage.  A 
platform  at  the  rear  may  be  occupied  by  musicians 
in  fanciful  costume.  The  stage  should  be  illuminated 
by  a  purple  fire.  Music,  the  schottische. 


IRISH   COURTSHIP. 

One  Female  and  One  Male  Figure. 

THIS  comic  tableau  represents  a  young  Irishman 
engaged  in  courting  his  true  love.  The  stage  should 
be  furnished  with  kitchen  furniture,  a  small  stove,  &c. 
The  back  of  the  stage  can  be  hung  with  cheap  room 
paper.  Bridget  is  seated  at  a  table  in  the  centre  of  the 
stage,  engaged  in  sewing.  Her  costume  consists  of  a 
white  dress  and  blue  apron.  Patrick  is  seated  near 
18* 


210  THE   TABLEAU. 

her,  smoking  a  short  pipe.  Costume  consists  of  velvet 
coat  and  breeches,  white  hose,  large  shoes,  with  hob 
nails  in  the  soles,  buff  vest,  red  wig,  face  and  hands 
painted  tan  color.  His  left  leg  is  placed  across  the 
right  knee,  hands  placed  in  his  pants  pocket,  eyes  fixed 
on  Bridget,  countenance  expressing  curiosity.  Music, 
Irish  air. 


THE    FAIRIES'  OFFERING  TO   THE    QUEEN    OF  MAY. 

Now  the  bright  morning  star,  day's  harbinger, 
Comes  dancing  from  the  east,  and  leads  with  her 
The  flowery  May,  who  from  her  green  lap  throws 
The  yellow  cowslip  and  the  pale  primrose. 
Hail,  bounteous  May  !  that  dost  inspire 
Mirth  and  youth  with  warm  desire  ; 
Woods  and  groves  are  of  thy  dressing, 
Hill  and  dale  doth  boast  thy  blessing. 
Thus  we  salute  thee  with  our  early  song, 
And  welcome  thee  and  wish  thee  long. 

Twenty  Female  Figures. 

So  sings  Milton  to  the  sweet  Birdmonth  —  he 
whose  mighty  mind  "nigh  sphered  in  Heaven,"  hymned 
the  soft  beauty  of  the  first  day  that  dawned  upon  the 
infant  world,  which  surely  must  have  been  a  May- 
morning. 

"  Sweet  day,  so  calm,  so  pure,  so  bright, 
The  bridal  of  the  earth  and  skies." 

What  must  have  been  a  May-morning  in  Paradise, 
when  even  now,  in  the  homeliest  districts,  it  gladdens 
the  heart  of  man  with  its  advent  of  young  flowers 
and  budding  leaves  and  sweetly  singing  birds!  It 


THE  FAIRIES'  OFFERING  TO  THE  QUEEN  OF  MAY.  211 

seems  to  be  Nature's  own  birthday,  throughout  the 
varied  kingdoms  of  her  living  world.  All  countries 
have  greeted  the  welcome  arrival  of  this  fair  day,  but 
none  more  so  than  old  Pastoral  England,  in  the  time  of 
her  elder  poets.  Time  was,  when,  from  the  court  to 
the  cottage,  all  "  rose  up  early  to  observe  the  rite  of 
May ;  "  some  went  a  "  dew-gathering,"  a  sort  of  rus- 
tic love-spell  that  was  sure  to  enchant  every  maiden, 
gentle  or  simple  ;  others  to  "  fetch  in  May  "  —  a  rival- 
ry that  "robbed  many  a  hawthorn  of  its  half-blown 
sweets  ; "  and  others  set  their  wits  to  work  to  get  up 
some  pretty  device,  some  rural  drama,  one  of  which  our 
tableau  represents. 

The  Fairies'  Offering  to  the  Queen  of  May  is  a  tab- 
leau of  great  excellence  and  artistic  beauty.  The 
Queen  of  May  is  seated  on  a  floral  throne  in  the  back- 
ground, which  is  situated  upon  a  platform  about  six 
feet  high,  with  broad  steps  extending  across  the  stage 
and  to  the  footlights.  These  should  be  covered  with 
green  booking,  and  on  them  are  grouped  the  fairies, 
who  are  offering  to  the  queen,  baskets,  bouquets,  and 
garlands  of  flowers.  On  the  lower  step  are  other 
fairies  ascending  to  the  throne,  and  bearing  baskets  of 
fruit  and  flowers  on  their  heads.  The  number  of  fig- 
ures in  the  piece  is  twenty,  nineteen  of  which  are 
young  misses,  quite  small  and  pretty,  and  one  a  beauti- 
ful maiden,  who  takes  the  part  of  the  May  Queen. 

You  must  wake  and  call  me  early,  call  me  early,  mother  dear ; 
To-morrow  '11  be  the  happiest  time  of  all  the  glad  New-year ; 
To-morrow'll  be  of  all  the  year  the  maddest,  merriest  day, 
For  I'm  to  be  Queen  o'  the  May,  mother,  I'm  to  be  Queen  o'  the  May. 


212  THE   TABLEAU. 

The  stage  scenery  must  be  arranged  in  the  following 
order :    A  large  arm  chair,  with  a  shaft  running  up  from 
the  back,  to  which  is  attached  a  canopy,  will  answer 
for  the  throne  chair  ;  cover  it  with  green  cambric,  and 
decorate   with   garlands    and    bouquets.     This    chair 
should  rest  on  the  platform,  which  is  six  feet  long,  three 
feet  wide,  and  covered  with  French  patch.     A  large 
gilt  vase,  containing  a  bouquet,  must  be  placed  at  each 
corner     The  queen's  costume  consists  of  a  white  robe, 
decorated  with  flowers,  a  garland    about  the  head, 
the  right  hand  grasping  a  wand  trimmed  with  silver 
and  gold  paper,  the  body  inclined  forward  slightly,  the 
left  hand  extended,  in  the  act  of  taking  a  bouquet 
from  one  of  the  fairies,  whom  she  is  looking  at ;  her 
countenance  is  lighted  up  with  smiles.     Care  should 
be  taken  that  the  fairies  who  are  grouped  around  the 
throne  do  not  take  the  view  from  the  queen.    The 
fairies'  costume  consists  of  a  short  white  dress,  flesh- 
colored  hose,  white  slippers,  and  hair  done  up  in  ring- 
lets.    The  sleeves  of  the  dress  made  quite  short,  waist 
and  skirt  ornamented  with  gold  bands  and  spangles, 
a  wreath   of  pure   white  flowers,   intermingled  with 
myrtle,  on  the  head,  and  a  portion  of  them  wearing 
gauze  wings,   studded  with    spangles.     Four   of   the 
fairies  are  to  be  grouped  around  the  foot  of  the  throne, 
on  the  top  step.     They  stand  or  kneel,  so  that  a  par- 
tial side  view  is  had  of  the  body  ;  hands  extended,  and 
holding    bouquets    or  garlands;    eves    fixed    on  the 
queen  ;  countenance  pleasant.     The  rest  of  the  misses 
must  be  placed  on  each  side  of  the  steps,  assuming  a 


BELSHAZZAR'S  FEAST.  213 

variety  of  positions,  and  each  have  fruits  or  flowers. 
Those  at  the  lower  part  of  the  steps  can  stand  near  the 
sides  of  the  stage,  which  will  allow  those  above  to  be 
seen.  The  scene  should  be  illuminated  by  a  trio  of 
fires,  consisting  of  green,  purple,  and  red,  burned  at 
the  side  of  the  stage.  For  directions,  see  Pyramid  of 
Beauty.  Music  soft  and  animating. 


BELSHAZZAR'S   FEAST. 

Joy  holds  her  courts  in  great  Belshazzar's  hall, 
Where  his  proud  lords  attend  their  monarch's  call  ; 
The  rarest  dainties  of  the  teeming  East 
Provoke  the  revel  and  adorn  the  feast. 

But  why,  O  king, 

Why  dost  thou  start,  with  livid  cheek  ?  —  why  fling 
The  untasted  gohlet  from  thy  trembling  hand  ? 
Why  shake  thy  joints  ?  thy  feet  forget  to  stand  ? 
Why  roams  thine  eye,  which  seems  in  wild  amaze 
To  shun  some  object,  yet  returns  to  gaze, 
Then  shrinks  again,  appalled,  as  if  the  tomb 
Had  sent  a  spirit  from  its  inmost  gloom  ? 

Awful  the  horror,  when  Belshazzar  raised 
His  arm,  and  pointed  where  the  vision  blazed  ; 
For  see  !  enrobed  in  flame,  a  mystic  shade, 
As  of  a  hand,  a  red  right  hand  displayed, 
And,  slowly  moving  o'er  the  wall,  appear 
Letters  of  fate  and  characters  of  fear. 
In  death-like  silence  grouped  the  revellers  all, 
Fixed  their  glazed  eyeballs  on  the  illumined  wall. 

T.  s.  HUGHES. 

Seven  Female  and  Eight  Male  Figures. 

THIS  sacred  tableau  is  represented  as  follows  :     At 
the  left  of  the  stage,  Belshazzar  is  seated  on  his  throne. 


214  THE   TABLEAU. 

At  his  side  stands  his  wife.  Consternation  and  affright 
are  depicted  on  their  countenances.  At  the  opposite 
side  of  the  stage  stand  three  wise  men.  In  the  centre 
of  the  stage  is  the  feast  table,  covered  with  silver 
dishes,  candlesticks,  and  refreshments.  Around  it  are 
gathered  the  guests.  In  the  background,  on  a  plat- 
form, are  seen  a  group  of  servants.  The  handwriting 
is  placed  on  the  back  scenery,  opposite  to  the  group  of 
servants.  The  number  of  figures  in  the  piece  is  fif- 
teen —  eight  gentlemen  and  seven  ladies.  The  scenery 
in  the  piece  consists  of  a  table  six  feet  long,  two  and  a 
half  feet  high,  and  three  feet  wide,  covered  with  a 
green  cloth,  fringed  with  gold  paper ,  on  this  are  placed 
a  silver  tea  set,  cake  baskets,  candlesticks,  and  refresh- 
ments. The  throne  chairs  should  be  placed  on  a  plat- 
form at  the  left  of  the  stage,  near  the  front ;  the  plat- 
form can  be  formed  of  boxes,  and  must  be  four  feet 
square  and  two  feet  high,  covered  with  crimson  cloth, 
trimmed  with  gold  paper;  two  large  chairs,  with  a 
canopy  over  the  top,  will  answer  for  the  throne  ;  one 
occupied  by  Belshazzar,  the  other  by  his  wife.  Low 
seats  around  the  table  will  be  needed  for  the  guests ; 
the  seats  can  be  covered  with  white  cloth  ;  showy  pic- 
tures, in  rich  frames,  adorn  the  walls,  and  pedestals 
and  statuary  fill  the  corners  of  the  room.  The  writing 
on  the  wall  can  be  produced  by  means  of  a  trans- 
parency, the  words  made  large,  and  the  letters  in  Ger- 
man text,  with  a  halo  around  the  whole  sentence. 
Belshazzar's  costume  consists  of  a  purple  velvet  coat 
trimmed  with  gold,  a  large  cloak  trimmed  with 


BELSHAZZAR'S  FEAST.  215 

ermine,  velvet  breeches,  white  hose  crossed  with  red 
tape,  sandals  on  the  feet,  and  a  velvet  and  gold  crown 
on  the  head.  His  wife  should  be  dressed  in  a  showy 
brocade,  cut  low  at  the  top,  short  sleeves,  a  band  of 
black  velvet  ornamented  with  gold  placed  on  the  head, 
and  a  narrow  mantle  worn  over  the  shoulder.  The 
dress  must  be  ornamented  with  rich  jewelry,  gold 
bands,  and  a  wide  belt  of  red  velvet,  decorated  with 
paste  pins,  around  the  waist.  The  three  wise  men's 
costume  consists  of  long,  loose  coats,  reaching  six  inches 
below  the  knee,  and  gathered  in  at  the  waist  with  a 
wide  belt.  Each  coat  should  vary  in  color  from  the 
others.  They  can  be  made  of  cambric.  Colors,  red, 
purple,  and  blue,  with  the  edges  trimmed  with  cloth  of 
some  other  color.  Black  hose,  crossed  with  red,  reach 
to  the  knees,  low  shoes,  covered  with  red  Turkey  cloth, 
on  the  feet,  and  a  turban  of  bright  colors  on  the  head, 
the  face  covered  with  a  long  white  beard  —  this  can  be 
made  of  flax.  The  ladies  at  the  table  must  be  cos- 
tumed in  silk  or  satin  dresses,  ornamented  with  span- 
gles, and  any  kind  of  jewelry  that  will  look  showy ; 
hair  decorated  with  spar  beads,  hair  pins,  and  plumes. 
The  gentlemen's  costume  consists  of  rich  velvet  suits ; 
long  beards.  Servants  in  short  white  coats,  with  bor- 
der on  the  bottom,  red  breeches,  white  hose,  and  light 
felt  hats  with  gold  bands.  Belshazzar's  position  is  in 
the  chair  near  the  footlights  ;  body  inclined  back,  arms 
thrown  up,  eyes  fixed  on  the  writing,  countenance 
expressing  affright.  His  wife  is  seated  in  the  second 
chair,  one  arm  resting  on  the  shoulder  of  her  husband, 


216  THE   TABLEAU. 

the  other  raised  in  front  of  the  face,  eyes  directed  to 
the  writing.  The  wise  men  stand  opposite  to  the 
throne,  at  the  extreme  end  of  the  stage,  near  the  foot- 
lights ;  their  backs  are  to  the  audience  ;  the  heads  of 
two  are  turned  to  the  king,  giving  a  side  view  of  their 
faces.  One  of  them  points  to  the  writing.  The  party 
at  the  table  must  assume  a  variety  of  natural  positions ; 
a  few  look  with  astonishment,  and  point  at  the  writing ; 
others  are  engaged  in  eating  and  drinking.  The  ser- 
vants stand  in  the  background,  and  are  all  looking  at 
the  writing.  A  few  lean  forward  and  point  to  the 
wall ;  others  take  position  as  if  about  to  flee  from  the 
room  ;  the  countenances  of  all  express  terror.  The 
scene  should  be  lighted  by  a  brilliant  red  fire  burned  at 
the  side  of  the  stage  opposite  Belshazzar.  Music, 
operatic  style. 


THE  VALENTINE.  217 


THE  VALENTINE. 

"  I  smile  at  Love  and  all  his  arts," 

The  charming  Cynthia  cried ; 
"  Take  heed,  for  Love  has  piercing  darts," 

A  wounded  swain  replied. 
"  Once  free  and  blessed,  as  you  are  now, 

I  trifled  with  his  charms, 
I  pointed  at  his  little  bow, 

And  sported  with  his  arms ; 
Till,  urged  too  far,  '  Revenge ! '  he  cries ; 

A  fatal  shaft  he  drew  ; 
It  took  its  passage  through  your  eyes, 

And  to  my  heart  it  flew." 

J.  VANBUEOH. 

Two  Female  and  Two  Male  Figures. 

THIS  tableau  is  represented  by  four  persons  —  two 
young  ladies,  and  two  small  lads.  One  of  the  young 
ladies  is  seated  on  a  sofa,  which  is  placed  in  the  centre 
of  the  stage.  She  holds  a  valentine  in  the  left  hand, 
and  points  at  it  with  her  right.  Her  head  is  turned 
around  to  a  young  lady  who  stands  behind  the  sofa. 
The  countenance  expresses  mirth.  The  lady  standing 
behind  the  sofa  rests  her  right  arm  on  the  shoulder  of 
her  friend,  and  is  looking  to  the  valentine,  her  body 
inclined  forward  slightly,  face  beaming  with  smiles. 
Costume  consists  of  a  white  dress,  pink  apron  trimmed 
with  green,  hair  done  up  in  wide  braids  at  the  side  of 
the  head,  and  ornamented  with  a  few  flowers.  The 
costume  of  the  lady  seated,  consists  of  a  white  dress, 
buff  apron  trimmed  with  purple,  hair  hanging  in  ring- 
lets, and  ornamented  with  blue  ribbon.  On  each  side 
19 


218  THE   TABLEAU. 

of  the  stage,  within  one  foot  of  the  curtain,  place  ped- 
estals ;  they  should  be  three  feet  high,  two  feet  square, 
with  cap  and  base,  and  covered  with  white  marble 
paper  or  cloth,  and  decorated  with  a  wreath  of  flowers 
on  the  front.  On  these  stand  the  young  lads,  dressed 
to  represent  Cupids.  Position  is,  facing  the  group  in 
the  centre  of  the  stage,  attitude  of  one  running;  one 
of  them  holds  on  high  a  large  sealed  letter.  The  other 
holds  a  small  tablet  in  one  hand,  and  a  quill  in  the 
right ;  these  must  be  extended  towards  the  centre  of 
the  stage.  Their  costume  consists  of  a  short  gauze 
dress,  cut  low  at  the  top  and  decorated  with  spangles, 
pants  of  flesh-colored  cloth,  reaching  to  the  ankles  and 
fitting  tightly  to  the  legs,  flesh-colored  hose,  white  slip- 
pers, gauze  wings  fastened  to  the  back  of  the  body,  and 
decorated  with  spangles  and  silver  stars.  A  small 
quiver,  formed  of  card-board,  covered  with  blue  and 
gold  paper,  filled  with  arrows  and  bow,  suspended 
from  the  neck ;  a  low-crowned  hat,  with  a  wide  brim, 
covered  with  pink  cambric,  and  decorated  with  a 
wreath  of  flowers,  covers  the  head ;  the  eyes  directed 
to  the  group  on  the  sofa,  countenance  expressing 
pleasure.  The  background  may  be  ornamented  with 
pictures  and  statuary.  The  light  for  this  piece  must 
be  of  medium  brilliancy,  and  come  from  the  right  side 
of  the  stage.  Music  soft. 


THE   FAIBIES'    RAINBOW   BRIDGE.  219 


THE   FAIRIES'   RAINBOW  BRIDGE. 

Love  and  Hope  and  Youth,  together 
Travelling  once  in  stormy  weather, 
Met  a  deep  and  gloomy  tide, 
Flowing  swift,  and  dark,  and  wide. 
'Twas  named  the  River  of  Despair,  — 
And  many  a  wreck  was  floating  there. 
The  urchins  paused,  with  faces  grave, 
Debating  how  to  cross  the  wave, 
When,  lo !  the  curtain  of  the  storm. 
Was  severed,  and  the  rainbow's  form 
Stood  against  the  parting  cloud, 
Emblem  of  peace  on  trouble's  shroud. 
Hope  pointed  to  the  signal  flying, 
And  the  three,  their  shoulders  plying, 
O'er  the  stream  the  light  arch  threw — 
A  rainbow  bridge  of  loveliest  hue  ! 
Now,  laughing  as  they  tripped  it  o'er, 
They  gayly  sought  the  other  shore. 

Asotr. 

Three  Male  Figures. 

THIS  brilliant  tableau  represents  a  rippling  stream  of 
water,  with  luxuriant  banks  on  either  side,  spanned  by 
a  beautiful  rainbow.  A  party  of  fairies,  wishing  to 
pass  the  stream,  have  made  use  of  the  rainbow  as  a 
bridge.  One  of  them  is  seen  in  the  centre  of  the 
bridge,  holding  a  golden  wand,  with  which  he  endeavors 
to  balance  himself  in  his  passage  over  the  water. 
Standing  on  the  right  bank,  near  the  end  of  the  bridge, 
is  a  fairy  who  has  safely  passed  over,  and  is  encour- 
aging his  friend  on  the  opposite  side  to  make  the  trial, 
who  is  seated  on  the  grass  arranging  a  bunch  of 
flowers.  The  scenery  of  the  piece  can  be  adjusted  in 


220  THE    TABLEAU. 

the  following  manner :  Boxes  two  feet  wide  and  three 
feet  high  placed  on  each  side  of  the  stage,  from  the  front 
to  the  background,  and  covered  with  green  booking, 
will  answer  for  the  banks  of  the  river.  A  few  branches 
of  spruce,  intermingled  with  flowers,  should  be  fastened 
to  the  side  scenes,  and  a  few  spruce  trees  arranged  in 
the  background.  At  the  front  end  of  the  bauks  place 
showy  vases  of  flowers  ;  and  at  the  other  end,  on  ped- 
estals two  feet  high,  place  larger  vases,  containing  bou- 
quets. To  make  the  river  show  to  advantage,  it  will 
be  necessary  to  arrange  it  in  the  form  of  an  inclined 
plane.  Strips  of  wood  placed  across  the  stage  at  a 
distance  of  one  foot  from  each  other,  on  a  rise  of  two 
inches  to  a  foot,  and  covered  with  blue  cambric,  will 
answer  for  the  river.  Let  the  cloth  festoon  between 
the  strips,  paint  the  ridges  of  the  miniature  waves 
with  white  paint,  and  sprinkle  them  with  small  par- 
ticles of  isinglass.  On  the  foreground  of  the  scene 
place  two  swans,  and  around  the  edges  of  the  banks 
fasten  pieces  of  spruce  and  grasses.  The  bridge  should 
be  made  slightly  oval,  and  placed  in  the  centre  of  the 
stage.  Three  stringers,  sawed  out  of  inch  board,  and 
covered  with  lathes  two  feet  long,  will  answer  for  the 
flooring.  This  can  be  entirely  hid  from  view  by  a  rail- 
ing on  the  front  side,  and  is  made  as  follows :  Man- 
ufacture a  frame  to  correspond  with  the  curve  and 
length  of  the  flooring,  and  twelve  inches  in  width; 
cover  it  with  white  cloth,  and  paint  it  to  represent  a 
rainbow;  the  colors  may  be  purple,  crimson,  yellow, 
green,  and  white ;  lights  placed  behind  it,  will  give  a 


THE  FAIRIES'  KAINBOW  BRIDGE.  221 

fine  effect.  The  fairies'  costume  consists  of  a  short 
muslin  dress,  with  a  border  three  inches  wide,  of  pink 
muslin,  decorated  with  gold  stars  —  the  white  muslin 
ornamented  with  silver  spangles  and  stars ;  flesh- 
colored  hose,  white  slippers,  a  band  of  silver,  orna- 
mented with  paste  pins,  about  the  head,  and  small  wings 
attached  to  the  back  of  the  dress,  —  the  wings  formed 
of  wire,  covered  with  gauze,  and  ornamented  with 
endless  bands  of  blue  tarletori  muslin,  ornamented 
with  silver  spangles.  Each  holds  a  gold  wand  three 
feet  long.  The  position  of  the  fairy  on  the  bridge  is 
such  that  a  side  view  is  had  of  the  form,  while  the  face 
is  turned  towards  the  front  of  the  stage.  The  wand  is 
grasped  in  the  centre,  and  held  across  the  bosom.  The 
countenance  expresses  pleasure.  The  fairy  who  has 
passed  over  is  standing  at  the  end  of  the  bridge,  partly 
facing  the  audience,  with  both  hands  extended  towards 
his  friend,  his  countenance  expressing  mirth.  The 
fairy  on  the  other  bank  is  seated  on  the  ground  ar- 
ranging flowers.  He  faces  the  audience,  and  is  look- 
ing at  a  large  rose  which  he  holds  in  his  right  hand. 
This  scene  must  be  illuminated  by  green,  red,  and 
yellow  fire,  which  is  described  in  the  tableau  of  the 
"  Pyramid  of  Beauty."  Music,  light  and  animating. 
19* 


222  THE   TABLEAU. 


LITTLE   EVA  AND   UNCLE   TOM. 

Dry  thy  tears  for  holy  Eva, 
With  the  blessed  angels  leave  her  ; 
Of  the  form  so  sweet  and  fair 
Give  to  earth  the  tender  care. 

For  the  golden  locks  of  Eva 
Let  the  sunny  soutk  land  give  her 
Flowery  pillows  of  repose, 
Orange  bloom  and  budding  rose. 

J.  G.  WDITTIKB. 

One  Female  and  One  Male  Figure. 

THIS  tableau  is  one  that  can  be  easily  produced,  and 
will  not  be  expensive.  It  represents  little  Eva  seated 
in  an  arbor  by  the  side  of  Uncle  Tom.  She  has  a 
large  Bible  before  her,  which  she  is  reading  and  ex- 
plaining to  her  friend.  A  rustic  arbor  can  be  made  of 
strips  of  wood,  covered  with  white  cloth,  and  painted 
to  resemble  slats  and  running  vines ;  the  dimensions 
of  which  are  six  feet  high,  four  feet  wide,  and  three 
feet  deep.  A  rough  seat  at  the  back  part  is  occupied 
by  Eva  and  Uncle  Tom.  A  festoon  of  artificial  flowers 
and  spruce  should  be  arranged  in  front,  and  a  large 
spruce  tree  placed  on  either  side.  The  person  who 
personates  Uncle  Tom  must  be  one  of  large  figure 
and  pleasant  countenance.  Costume  consists  of  a  coat 
of  coarse  material,  white  pants,  light  vest,  colored 
handkerchief  tied  about  the  neck,  striped  hose,  low 
shoes,  a  wig  of  black,  curly  hair,  and  a  wide-brimmed 
straw  hat,  which  lies  on  the  ground  by  his  side.  The 


LITTLE   EVA   AND  UNCLE   TOM.  223 

wig  can  be  formed  of  curled  horse-hair,  fastened  to  a 
covering  made  to  fit  the  crown  of  the  head.  Color  the 
exposed  parts  of  the  body  black,  the  lips  red.  Little 
Eva  should  be  quite, small,  pretty,  and  have  long  light 
curls.  Her  costume  consists  of  a  white  dress,  trimmed 
at  the  top  and  around  the  sleeves  with  pink  ribbon  ;  a 
straw  hat,  trimmed  with  wild  flowers,  which  hangs  by 
the  strings  on  her  arm,  and  dark  shoes.  Uncle  Tom  is 
seated  on  one  side  of  the  seat,  his  legs  crossed,  body 
bent  forward  slightly,  hands  placed  on  his  knees,  his 
head  turned  towards  Eva,  and  eyes  fixed  on  the 
Bible  with  an  expression  of  pleasure  and  earnestness. 
Eva  is  seated  at  his  side,  with  her  feet  resting  on  a 
small  stool,  one  hand  placed  on  Uncle  Tom's  arm, 
while  with  the  other  she  points  to  the  pages  of  the 
Bible.  Her  face  is  turned  towards  her  friend.  The 
countenance  expresses  sadness.  A  small  quantity  of 
light  is  required  for  the  piece,  which  should  come  from 
the  left  side.  Music,  soft  and  plaintive. 


224  THE   TABLEAU. 


LOVE   TRIUMPHANT. 

In  peace,  Love  tunes  the  shepherd's  reed; 

In  war,  he  mounts  the  warrior's  steed; 

In  halls,  in  gay  attire  is  seen, 

In  hamlets,  dances  on  the  green. 

Love  rules  the  court,  the  camp,  the  grove, 

And  men  below,  and  saints  above  ; 

For  love  is  heaven,  and  heaven  is  love. 

SIR  WALTER  SCOTT. 

One  Female  and  Two  Male  Figures. 

THIS  beautiful  classic  tableau  represents  two  figures, 
a  youth  and  a  maiden,  supporting  Cupid  on  their 
shoulders.  The  two  persons  who  take  these  parts 
should  be  of  good  figure  and  of  equal  height.  The 
maiden's  costume  consists  of  a  white  dress,  cut  low  at 
the  top,  sleeves  short ;  a  gauze  scarf  draped  across  the 
breast,  tied  at  the  side,  and  allowed  to  trail  on  the  floor; 
white  shoes,  hair  hanging  loosely  over  the  shoulders,  the 
head  encircled  with  a  wreath  of  spar  beads  and  white 
flowers.  The  right  hand  grasps  a  garland  of  white 
flowers,  while  the  left  helps  to  support  the  boy  Cupid. 
The  youth's  costume  consists  of  a  white  coat,  vest, 
breeches,  hose,  cravat,  and  shoes.  Across  the  left  arm 
hangs  a  white  mantle  ;  the  hand  grasping  a  shepherd's 
crook,  which  is  four  feet  long,  and  painted  white.  The 
boy  Cupid  must  be  quite  small,  and  costumed  in  a 
short  gauze  dress,  white  hose,  and  shoes ;  a  white 
quiver,  bow  and  arrows,  must  be  suspended  from  the 
neck  by  a  satin  ribbon,  and  small  gauze  wings  fastened 


LOVE   TRIUMPHANT.  225 

to  the  back  of  the  dress.  The  right  hand  grasps  a 
torch,  which  is  held  above  the  head.  This  can  be 
made  of  card  board,  the  flame  imitated  by  gold  paper. 
His  head  is  turned  towards  the  maiden,  into  whose 
eyes  he  is  looking,  countenance  expressing  mirth.  The 
two  figures  stand  on  a  pedestal  two  feet  high  and  four 
feet  in  diameter,  covered  with  black  marble  paper,  and 
placed  in  the  centre  of  the  stage,  the  right  arm  of  the 
gentleman  and  the  left  arm  of  the  maiden  crossed  so 
as  to  make  a  seat  for  the  boy  ;  both  assume  attitudes 
of  persons  in  the  act  of  walking,  and  look  up  with 
delight  into  the  face  of  the  boy.  The  front  of  the 
stage,  if  covered  with  white  gauze,  will  add  to  the 
beauty  of  the  scene,  which  is  intended  to  represent 
statuary.  Light  should  come  from  the  side  of  the 
stage,  and  of  medium  brilliancy.  Music,  soft  and 
plaintive. 


226  THE   TABLEAU. 


THE   BANDITTI. 

But  wilder  sounds  were  there  ;  th'  imploring  cry 

That  woke  the  forest's  echo  in  reply, 

But  not  the  heart's !     Unmoved,  the  wizard  train 

Stood  round  their  human  victim,  and  in  vain 

His  prayer  for  mercy  rose  ;  in  vain  his  glance 

Look'd  up,  appealing  to  the  blue  expanse, 

Where,  in  their  calm,  immortal  beauty,  shone 

Heaven's  cloudless  orbs.     With  faint  and  fainter  moan, 

Bcund  on  the  shrine  of  sacrifice  he  lay, 

Till,  drop  by  drop,  life's  current  ebb'd  away ; 

Till  rock  and  turf  grew  deeply,  darkly  red, 

And  the  pale  moon  gleam'd  paler  on  the  dead. 

Two  Female  and  Eight  Male  Figures. 


THIS  tableau  represents  a  travelling  party  attacked 
on  the  mountains  of  Italy  by  a  company  of  outlaws. 
It  is  one  which  can  be  easily  formed,  and  contains  ten 
figures,  five  of  which  are  men  dressed  to  represent 
banditti ;  the  other  personations  are  an  old  gentleman, 
his  daughter,  a  young  officer  and  wife,  and  coachman. 
The  floor  of  the  stage  should  rise  gradually  from  the 
fore  to  the  background.  This  can  be  accomplished 
with  boxes  and  boards  covered  with  green  booking. 
The  bandit's  costume  consists  of  a  dark  coat,  open  in 
front,  showing  a  colored  shirt,  breeches  of  bright- 
colored  cloth,  white  hose,  knee  and  shoe  buckles,  low 
shoes,  red  scarf  about  the  waist,  in  which  are  pistols 
and  short  sword,  black  felt  hat,  slouched,  with  a  red 
band  and  colored  plume ;  heavy  beard,  face  and  neck 
slightly  stained  light-brown  ;  the  coats  can  be  trimmed 


THE  BANDITTI.  227 

with  gaudy  binding,  if  desirable.  The  old  gentleman's 
costume  consists  of  black  coat,  light  pants  and  vest, 
light  cravat,  white  wig,  light  hat,  face  painted  to  imi- 
tate age.  The  officer's  dress  can  be  quite  showy  or 
very  plain.  If  a  full  military  costume  cannot  be  pro- 
cured, the  following  will  answer:  Dark  frock  coat, 
buttoned  to  the  neck,  and  ornamented  with  large  gilt 
buttons  and  shoulder  straps,  black  pants  with  buff 
stripe,  flat  cap  with  gilt  band,  side  arms  and  sash. 
The  officer's  wife  is  dressed  in  a  showy  silk  robe ; 
hair  arranged  to  suit  the  performer's  taste.  The  old 
man's  daughter  is  costumed  in  a  white  dress,  pink  silk 
apron,  small  straw  hat  trimmed  with  green  ribbon. 
Coachman's  costume  is,  a  long,  dark  coat,  buttoned  to 
the  chin,  light  pants,  long  boots,  black  silk  hat,  with  a 
leather  strap  and  a  number  in  gold  in  front,  black  belt 
around  the  waist,  the  right  hand  grasping  a  long  whip. 
A  representation  of  the  side  of  a  coach,  covered  with 
cloth  painted  in  proper  style,  and  placed  in  the  back- 
ground, will  add  much  to  the  effect.  In  the  centre  of 
the  stage  place  a  large  trunk  filled  with  clothing,  the 
cover  thrown  back  so  as  to  display  the  contents. 
Watches,  jewelry,  and  other  articles  of  value  should  be 
strown  promiscuously  about,  while  one  of  the  bandits 
is  seen  kneeling  over  it  with  a  heavy  watch  and  chain 
in  his  hand.  Back  of  the  trunk  stand  the  officer  and 
a  brigand.  The  officer  has  a  large  wound  across  the 
temple,  and  attempts  to  rescue  his  wife,  who  is  being 
dragged  away  by  one  of  the  brigands  in  the  back- 
ground ;  he  stretches  out  his  arms  towards,  and  looks 


228  THE   TABLEAU. 

upon  her,  but  is  kept  from  her  by  the  strong  arm  of 
the  ruffian  at  his  side,  who  grasps  him  by  the  collar, 
and  holds  a  bloody  sword  above  his  head ;  the  brigand 
partially  faces  the  audience ;  the  officer  stands  in  a 
side  position ;  the  wife  is  seen  kneeling  in  the  back- 
ground, with  hands  clasped  and  eyes  raised  to  a 
brigand,  who  grasps  her  by  the  hair  of  the  head  with 
the  left  hand,  and  presents  a  pistol  at  her  with 
the  right.  At  the  left  of  the  trunk  is  seen  the  old 
gentleman.  One  of  the  ruffians  grasps  him  by  the 
throat,  as  if  in  the  act  of  strangling  him.  The  old 
man  holds  a  watch  in  the  left  hand  ;  the  right  is  thrown 
upward.  His  position  is,  facing  the  audience ;  coun- 
tenance expressing  terror  and  excitement.  At  the 
right  of  the  trunk  kneels  the  coachman,  with  hands 
tied  behind  his  back,  which  is  turned  to  the  audience, 
head  thrown  backward  so  that  a  partial  side  view  is 
had  of  the  features.  A  few  paces  in  front  of  him,  and 
facing  the  audience,  is  seated  a  brigand,  on  the  top  of 
a  portmanteau ;  he  is  smoking  a  short  pipe,  and  with 
the  right  hand  points  a  pistol  to  the  face  of  the  figure 
kneeling  in  front  of  him.  Between  him  and  the  wife 
lies  the  young  girl,  who  has  fainted  from  affright.  She 
lies  with  her  head  to  the  back  of  the  stage,  arms 
stretched  out  on  the  grass,  and  eyes  closed.  The  stage 
should  be  illuminated  by  brilliant  lights  placed  at  the 
left  side  of  the  stage.  The  sound  of  rain  and  thunder 
may  be  produced  in  the  ante-rooms  with  good  effect. 


PORTRAIT  OF  LOUIS   NAPOLEON.  229 

PORTRAIT  OF  LOUIS  NAPOLEON. 

One  Male  Figure. 

THIS  portrait-tableau  is  produced  in  the  same  man- 
ner as  that  of  "  Gabrielle."  The  gentleman  who  per- 
sonates Louis  Napoleon  should  in  form  and  features 
resemble  him.  The  costume  consists  of  a  blue  velvet 
coat,  decorated  with  silver  and  gold  lace,  vest  of  the 
same  material,  buff  breeches,  white  hose,  low  shoes, 
knee  and  shoe  buckles,  gold  epaulets  and  side  arms,  a 
decoration  on  the  left  breast  composed  of  brilliant 
stones  and  spangles,  a  red  and  blue  silk  sash  across  the 
breast.  Louis  Napoleon  wears  a  long  beard  and  heavy 
mustache.  Position  is  such  as  to  display  a  partial 
front  view  of  the  body,  right  hand  placed  on  the  hilt  of 
his  sword,  eyes  directed  forward,  countenance  calm. 
Light  should  come  from  the  front  of  the  stage,  and  be 
of  medium  brilliancy.  Music,  Marseillaise  Hymn. 
20 


230  THE   TABLEAU. 


THE   RETURN   FROM  THE   VINTAGE. 

It  is  the  Rhine  !  our  mountain  vineyards  laving ; 

I  see  the  bright  flood  shine  ; 
Sing  on  the  march,  with  every  banner  waving, 

Sing,  brothers ;  'tis  the  Ilhine  ! 

Home,  home  !  thy  glad  wave  hath  a  tone  of  greeting, 

Thy  path  is  by  my  home  ; 
Even  now  my  children  count  the  hours,  till  meeting ; 

0,  ransomed  ones,  I  come. 

SlKS.  IlEUAXS. 

One  Female  and  Four  Male  Figures. 

THIS  picture  represents  four  laborers  returning  from 
the  vintage,  bearing  on  their  shoulders  a  large  tub  of 
grapes,  seated  on  the  top  of  which  is  a  young  girl,  and 
by  her  side  a  small  child.  As  they  near  the  shores  of 
the  imperial  river,  they  sing  one  of  their  national  songs, 
the  girl  accompanying  with  a  tambourine,  and  the  child 
with  a  flute.  The  costume  of  the  four  vintagers  con- 
sists of  colored  or  check  shirts,  breeches,  long  hose, 
low  shoes,  knee  and  shoe  buckles,  single-breasted  vest 
of  bright  colors,  left  open,  handkerchief  tied  carelessly 
about  the  neck,  and  low  felt  hat  with  a  sprig  of  grape 
leaves  in  front,  the  face  colored  slightly  with  red.  The 
lady's  costume  consists  of  a  red  dress,  blue  waist,  open 
in  front,  and  laced  across  with  pink  ribbon,  and  a  small 
straw  hat  trimmed  with  green  ribbon  on  the  head. 
The  boy's  costume  consists  of  a  velvet  jacket,  white 
pants,  and  small  fancy  cap.  The  four  vintagers  stand 
in  a  circle,  on  a  round  or  square  pedestal  four  feet  in 


THE  RETURN  FROM  THE  VINTAGE.  231 

diameter,  covered  with  green  booking ;  they  face  out- 
ward, and  support  the  tub  on  their  shoulders ;  one 
hand  is  raised,  and  grasps  the  top  of  the  tub,  while  the 
other  hangs-  carelessly  at  the  side.  A  tall  box  should 
be  placed  under  the  tub,  which  will  relieve  the  laborers 
from  the  weight.  The  vintagers  look  up  to  the  lady, 
the  countenance  expressing  pleasure.  The  young  lady 
who  is  seated  on  the  tub  holds  the  tambourine  in  her 
left  hand,  which  is  raised  above  her  head  ;  the  right 
hand  is  raised  as  high  as  the  face,  the  head  thrown 
back  slightly,  eyes  lifted,  body  facing  the  audience. 
The  boy  has  the  end  of  the  flute  or  trumpet  placed  in 
his  mouth ;  both  hands  grasp  the  flute ;  eyes  directed 
forward.  The  tub  should  be  three  feet  wide,  and  the 
outside  and  rim  painted  in  imitation  of  grapes  and 
leaves.  Light  will  be  needed  in  front  and  at  the  left 
side.  Music  of  an  inspiring  order. 


232  THE   TABLEAU. 


LOVERS    GOING  TO  THE   WELL. 

How  dear  to  my  heart  are  the  scenes  of  my  childhood, 

"When  fond  recollection  presents  them  to  view  ; 
The  orchard,  the  meadow,  the  deep-tangled  wildwood, 

And  every  loved  spot  which  my  infancy  knew ; 
The  wide-spreading  pond,  and  the  mill  that  stood  by  it, 

The  bridge,  and  the  rock  where  the  cataract  fell, 
The  cot  of  my  fathers,  the  dairy  house  nigh  it, 

And  e'en  the  rude  bucket  which  hung  in  the  well; 
The  old  oaken  bucket,  the  iron-bound  bucket, 

The  moss-covered  bucket,  which  hung  in  the  well. 

One  Male  and  One  Female  Figure. 

THIS  tableau  represents  a  young  peasant  girl  and 
her  lover  going  to  the  well.  It  is  a  statuary  design, 
and,  when  well  executed,  makes  a  tableau  of  great 
beauty.  The  lady  and  gentleman  who  take  part  in  this 
group  must  be  of  the  same  height,  of  slim  figure,  and 
good  features ;  the  gentleman  should  be  without  a 
beard.  In  the  centre  of  the  stage  place  a  round  ped- 
estal one  foot  high,  three  feet  in  diameter,  and  covered 
with  black  marble  paper.  The  gentleman's  costume 
consists  of  a  white  coat,  breeches,  hose,  shoes,  cravat, 
vest,  gloves,  hat  and  collar,  and  a  long  gauze  scarf, 
worn  over  the  shoulder,  tied  at  the  side,  the  ends 
hanging  down  to  the  knee,  the  hat  placed  jantily  on 
the  side  of  the  head.  The  lady's  costume  consists  of 
a  white  dress,  worn  with  but  few  skirts,  and  cut  low  at 
the  top,  sleeves  long  and  flowing ;  a  long  gauze  scarf 
worn  over  the  shoulders,  tied  at  the  side,  the  ends 
allowed  to  trail  on  the  floor ;  white  hose,  shoes,  gloves, 


LOVERS  GOING  TO  THE  WELL.  233 

and  white  felt  hat  worn  carelessly  on  the  head ; 
the  exposed  parts  of  both  figures  made  as  white 
as  possible.  Both  stand  near  the  centre  of  the  ped- 
estal, the  gentleman's  right  hand  placed  across  the 
lady's  shoulder ;  his  left  hangs  carelessly  at  the  side, 
and  grasps  a  white  water  pitcher,  his  right  foot  placed 
twenty  inches  in  advance  of  the  left,  the  toe  of  the  left 
just  touching  the  pedestal,  and  the  body  inclined  for- 
ward slightly;  his  head  is  turned  towards  the  lady, 
into  whose  eyes  he  is  looking,  while  the  countenance 
expresses  pleasure.  The  lady's  right  hand  holds  a 
pitcher  similar  in  shape  to  the  one  held  by  the  gentle- 
man. Her  left  is  raised  near  her  bosom,  the  forefinger 
pointed  to  some  object  in  the  distance.  Her  head  is 
turned  towards  the  gentleman,  eyes  looking  into  his, 
and  countenance  expressing  earnestness,  her  feet  and 
body  in  the  same  position  as  the  gentleman's.  The 
front  of  the  stage,  if  covered  with  thin  white  gauze, 
will  add  to  the  beauty  of  the  piece.  The  light  should 
come  from  the  left  side  of  the  stage,  and  be  of  a  me- 
dium brightness.  Music  soft  and  plaintive. 
20* 


234  THE   TABLEAU. 


THE  ITALIAN   FLOWER  VASE. 

0  Attic  shape !    Fair  attitude  !    With  brede 

Of  marble  men  and  maidens  overwrought 
With  forest  branches  and  the  trodden  weed ; 

Thou,  silent  form,  dost  tease  us  out  of  thought, 
As  doth  eternity.    Cold  Pastoral ! 

When  old  age  shall  this  generation  waste, 
Thou  shalt  remain,  in  midst  of  other  woe 

Than  ours ;  a  friend  to  man,  to  whom  thou  say'st, 
"  Beauty  is  truth,  truth  beauty  "  —  that  is  all 

Ye  know  on  earth,  and  all  ye  need  to  know. 

KEATS'S  "  ODE  ON  A  GBECIAX  UBS." 

Three  Female  Figures. 

THIS  exquisite  statue  tableau  represents  a  beautiful 
yase,  tbe  sides  of  which  are  ornamented  with  statues, 
personifying  Spring,  Summer,  and  Autumn.  The  vase 
is  made  to  revolve  by  machinery.  Three  ladies  of 
good  figure  and  features,  and  of  equal  height,  are  re- 
quired, to  fill  out  the  design.  Their  costumes  consist 
of  long  white  muslin  robes,  worn  with  few  under  skirts, 
cut  low  at  the  neck,  sleeves  reaching  to  the  elbow,  and 
flowing,  white  hose  and  slippers  ;  hair  combed  up  from 
the  forehead,  clasped  with  a  band  of  silver  behind,  and 
allowed  to  hang  iu  heavy  curls  in  the  neck ;  a  string  of 
small  wax  or  spar  beads  entwined  about  the  top  of  the 
head,  the  ends  trailing  among  the  curls ;  a  bouquet  of 
white  flowers  placed  on  the  front  of  the  waist,  and  a 
white  rose  fastened  to  the  front  of  the  spar  wreath 
which  adorns  the  head ;  the  exposed  portions  of  the 
body  made  as  white  as  possible. 


THE  ITALIAN   FLOWER  VASE.  235 

The  stage  machinery  is  constructed  in  the  following 
manner :  After  arranging  the  revolving  beam  beneath 
the  stage,  (described  in  the  "  Bust  of  Proserpine,") 
the  base  of  the  vase  should  be  fastened  to  the  top  of 
the  shaft  which  protrudes  through  the  floor,  and  fas- 
tened so  firmly  that  the  weight  of  the  three  females 
will  not  impede  the  revolutions.  It  must  also  be  con- 
structed so  that  it  can  be  easily  shipped  and  unshipped. 
The  base  is  of  octagon  form,  two  feet  in  diameter,  one 
foot  thick,  and  ornamented  with  small  scrolls  around 
the  sides,  the  whole  to  be  covered  with  white  cloth,  and 
decorated  with  artificial  or  painted  wreaths  and  fes- 
toons of  flowers.  On  the  top  of  the  base  there  must 
be  a  box  one  foot  high,  and  five  inches  square,  fastened 
firmly  to  the  main  body  with  iron  braces ;  this  is  for 
the  insertion  of  the  shaft  of  the  vase,  which  is  made  of 
joist,  four  inches  square,  six  feet  in  length,  and  painted 
white.  The  top  or  bowl  of  the  vase  should  be  made  in 
the  form  of  a  saucer ;  the  material  used  in  its  compo- 
sition must  be  light ;  its  dimensions,  four  feet  in  diam- 
eter, with  a  square  cavity  in  the  centre,  in  which  to 
place  the  shaft ;  cover  the  exterior  with  white  cloth  ; 
around  the  top  paint  a  wreath  of  large  flowers,  and 
from  the  centre  to  the  rim  paint  other  festoons  of 
smaller  flowers  four  inches  apart;  around  the  cavity 
where  the  shaft  enters,  place  three  pieces  of  wood,  made 
and  painted  to  resemble  large  leaves,  the  size  of  which 
should  be  seven  inches  in  length  by  five  in  width.  The 
vase  can  be  made  in  one  piece,  if  there  is  sufficient  room 
for  the  accommodation  of  so  large  a  piece  of  furniture. 


236  THE  TABLEAU. 

But  for  a  small  stage  it  will  be  better  to  have  it  in 
three  parts.  The  ladies  stand  on  the  base  of  the  vase, 
with  their  backs  against  the  shaft,  the  top  of  the  head 
just  touching  the  bottom  of  the  large  leaves,  the  head 
and  body  perfectly  erect,  the  hands  of  the  three  clasped 
at  the  side,  and  holding  the  ends  of  festoons  of  colored 
flowers,  eyes  slightly  raised,  countenance  calm  and 
pleasant.  The  festoolis  must  run  from  the  hands  of 
the  statues  to  the  shaft,  fastened  there,  and  pass  down 
to  the  other  hand,  and  so  on  around  the  three  figures. 
The  vase  should  revolve  quite  slowly,  and  be  put  in 
motion  while  the  curtain  is  rising.  Gauze  before  this 
piece  will  add  to  the  effect.  The  light  must  come  from 
the  left  side  of  the  stage,  and  be  of  medium  brilliancy. 
Music  soft  and  plaintive. 


PORTRAIT  OF  THE  MADONNA. 

They  haunt  me  still  —  those  calm,  pure,  holy  eyes  ; 

Their  piercing  sweetness  wanders  through  my  dreams  : 
The  soul  of  music  that  within  them  lies, 

Comes  o'er  my  soul  in  soft  and  sudden  gleams. 

Are  there  not  deep,  sad  oracles  to  read 
In  the  calm  stillness  of  that  radiant  face  ? 

Yes,  even  like  thee  must  gifted  spirits  bleed, 
Thrown  on  a  world,  for  heavenly  things  no  place. 

One  Female  Figure. 

THIS  portrait  tableau  is  produced  in  the  same  man- 
ner as  that  of  "  Gabrielle."    The  lady  who  personates 


THE   SHOEMAKER  IN  LOVE.  237 

the  Madonna  should  be  of  good  figure,  fine,  regular 
features,  eyes  large  and  expressive,  a  full  face  and  dark 
hair.  Costume  consists  of  white  dress  open  slightly  in 
front,  sleeves  long  and  flowing,  a  velvet  cape  thrown 
negligently  over  the  shoulders,  a  large  cross  suspended 
from  the  neck  by  a  necklace  of  wax  beads,  the  hair 
puffed  slightly  at  the  side,  and  arranged  in  a  neat  coil 
at  the  back,  and  a  large  braid  passed  across  the  top  of 
the  head.  She  should  partially  face  the  audience,  the 
head  slightly  inclined  forward,  eyes  cast  upward,  hands 
clasped  in  front  of  the  breast,  and  lips  partly  open,  the 
countenance  expressing  earnestness  and  meekness. 
Light  will  be  required  at  the  front  of  the  stage,  and 
must  be  of  medium  brilliancy.  Music  of  a  sacred  and 
plaintive  style. 


THE   SHOEMAKER  IN  LOVE. 

Love's  feeling  is  more  soft  and  sensible 
Than  are  the  tender  horns  of  cockled  snails. 

SHAKSPEAKE. 

One  Male  and  Two  Female  Figures. 

THIS  is  a  comic  tableau,  and  represents  a  pretty 
young  lady  at  a  country  shoemaker's  shop,  in  the  act 
of  having  her  foot  measured  for  a  pair  of  shoes.  The 
lady  stands  in  the  centre  of  the  stage,  and  rests  her 
unslippered  foot  on  a  small  box,  while  the  knight  of 
the  lapstone  and  hammer  is  engaged  in  taking  the 
measure  of  her  foot.  While  occupied  in  this  duty,  he 


238  THE   TABLEAU. 

is  suddenly  smitten,  either  with  her  pretty  face  or  small 
foot,  and  instead  of  proceeding  with  his  task,  he  stops 
and  looks  up  with  a  pleasant  smile  into  the  face  of  his 
fair  customer.  In  the  background,  peeping  out  from 
behind  a  screen,  is  the  shoemaker's  wife,  with  a  broom- 
stick in  her  hand.  The  scenery  consists  of  a  wooden 
screen,  covered  with  cloth,  extending  half  way  across  the 
centre  of  the  stage,  on  which  is  painted,  in  large  let- 
ters, the  name  "  Ebenezer  Heeltap."  Shelves  of  boots, 
shoes,  shoemaker's  tools,  and  other  articles,  should  also 
be  painted  on  the  screen.  In  the  foreground  place  a 
shoemaker's  bench,  and  a  few  shoes,  partly  worn  out, 
scattered  on  the  floor.  The  young  lady's  costume  con- 
sists of  a  blue  silk  dress,  crimson  shawl,  white  bonnet, 
and  sunshade.  Position  is,  standing  at  the  side  of 
the  stage,  showing  a  side  view  of  the  body,  one  foot 
resting  on  a  box,  both  hands  grasping  her  dress,  which 
she  draws  up  sufficiently  high  to  display  her  foot 
and  ankle,  body  bent  forward,  and  eyes  fixed  on  her 
foot.  The  shoemaker  kneels  on  the  floor  opposite  to 
her,  holding  a  strap  in  one  hand,  the  other  resting  on 
the  box,  the  head  thrown  back,  and  eyes  cast  upward 
to  the  face  of  the  lady.  Costume  consists  of  a  suit  of 
coarse  material,  sleeves  rolled  up  -  to  the  elbow, 
leather  apron  tied  about  the  waist,  paper  cap  on  the 
head,  red  or  gray  wig,  and  shaggy  beard.  The  old 
lady's  costume  consists  of  a  cheap  calico  dress,  white 
ruffled  cap,  white  handkerchief  tied  about  the  neck,  and 
spectacles  on  the  nose.  The  light  must  come  from  the 
right  side  of  the  stage,  and  be  of  medium  brilliancy. 
Music  of  a  secular  order. 


PRINCE   EDWARD   AFTER  THE  BATTLE   OP  CULLODEN.   239 


PRINCE   CHARLES  EDWARD  AFTER  THE 
BATTLE    OF   CULLODEN. 

Our  bugles  sung  truce,  for  the  night  cloud  had  lower'd, 
And  the  sentinel  stars  set  their  watch  in  the  sky, 

And  thousands  had  sunk  on  the  ground  overpower'd, 
The  weary  to  sleep,  and  the  wounded  to  die. 

THOMAS  CAMPBELL. 

One  Female  and  Six  Male  Figures. 

THIS  tableau  contains  seven  figures,  and  represents 
Prince  Charles  Edward  asleep  in  one  of  his  hiding- 
places  after  the  battle  of  Culloden,  protected  by  Flora 
Macdonald  and  Highland  outlaws,  who  are  alarmed  on 
their  watch.  Here  rests,  in  fitful  and  affrighted  slum- 
bers, the  recent  victor,  Prince  Charles  Edward,  a 
broken  and  despairing  fugitive,  his  gallant  spirit  dissi- 
pated, and  his  well-knit  limbs  stained,  and  bruised,  and 
soiled  by  urgent  journeys  and  perilous  encounters. 
Beside  him  sits  a  sleepless  guardian,  the  brave,  the 
beautiful,  the  heroic  Flora  Macdonald.  A  deer-hound, 
who  had  crouched  at  her  feet,  has  given  an  alarm  of 
coming  danger.  The  peril  is  imminent,  but  the  foe  is 
invisible.  What  shall  be  done  ?  Shall  the  sleeper  be 
awakened?  His  devoted  protector,  prompt  as  the 
occasion,  and  wise  beyond  the  emergency,  counsels  on 
the  instant,  silence,  caution,  self-possession.  There- 
upon the  Highlanders  draw  together,  and,  restraining 
the  frenzy  of  their  first  emotions,  wait,  with  desperate 
resolution,  the  first  manifestation  of  coming  danger. 


240  THE   TABLEAU. 

The  scenery  accompanying  this  piece  represents  a 
cave  in  the  rocks  ;  in  the  centre  of  the  back  wall  is  an 
opening,  through  which  the  Highland  outlaws  are 
looking.  The  rocks  can  be  imitated  by  covering 
wooden  frames  with  coarse  brown  paper,  fastened  on 
in  a  rumpled  manner,  and  shaded  with  light  and 
dark  brown  paint,  sprinkled  over  with  small  particles 
of  isinglass.  These  frames  should  reach  to  the  ceiling 
of  the  stage,  and  be  constructed  in  sections  four  feet 
wide  ;  they  must  be  arranged  in  the  background  in  the 
form  of  a  half  circle,  the  floor  and  sides  of  the  stage 
covered  with  the  same  kind  of  scenery  ;  a  box  six  feet 
long  and  two  feet  wide,  covered  with  a  robe,  should  be 
placed  in  the  centre  of  the  cave,  for  the  prince  to  re- 
cline upon.  Spears,  shields  and  battle  axes  may  be 
strewn  about,  and  a  small  fire  made  to  smoulder  in  the 
foreground.  This  can  be  built  in  an  iron  furnace,  sur- 
rounded by  rocks.  The  prince  is  costumed  in  a  rich 
Highland  suit.  The  coat,  which  reaches  to  the  knee, 
is  made  of  Scotch  plaid,  trimmed  at  the  bottom  of  the 
skirt,  sleeves,  and  on  the  front  with  black  velvet  orna- 
mented with  gold ;  plaid  breeches  and  hose,  worn  so  as 
to  leave  a  naked  space  of  five  inches  between  the  top 
of  the  hose  and  bottom  of  the  breeches ;  short-legged 
boots,  with  red  tops,  spurs  ;  a  heavy  plaid  scarf,  deco- 
rated with  gold,  worn  across  the  shoulders  ;  and  a  flat 
Highland  cap,  with  plume  in  front,  which  lies  on  the 
couch  at  his  side.  The  prince  is  lying  on  his  side, 
lengthwise  of  the  cave,  in  position  so  that  his  face  can 
be  seen,  his  head  resting  on  his  left  arm,  while  his  right 


PRINCE  EDWARD  AFTER  THE  BATTLE   OF  CULLODEN.    241 

hangs  down  to  the  floor  of  the  cave,  touching  his 
sword  and  pistols.  Flora  Macdonald  is  seated  near  the 
head  of  Prince  Charles.  Her  costume  consists  of  a 
Highland  frock  reaching  below  the  knees,  hose  of  scar- 
let plaid,  a  scarf  about  the  breast  made  of  black  cloth, 
and  fringed  on  the  side  with  buff,  and  across  the  shoul- 
ders is  worn  a  blue  cape  trimmed  with  velvet  and  gold  ; 
her  hair  hangs  loosely  on  the  shoulders ;  the  left  hand 
gathers  the  cloak  about  the  breast,  while  the  right  is 
raised  in  front  of  the  face,  the  fingers  extended,  the 
head  turned  around  to  the  group  of  Highlanders  at  the 
back  of  the  cave,  to  whom  she  is  in  the  act  of  speaking. 
Fear  and  caution  are  expressed  on  her  countenance. 
The  group  of  Highlanders  are  at  the  right  of  the  cave, 
in  the  extreme  background,  near  the  opening.  Their 
costume  is  similar  to  that  of  the  prince,  but  of  cheaper 
material,  and  without  decorations.  Each  has  a  sword 
and  musket.  The  first  outlaw  is  looking  out  of  the 
opening ;  he  holds  his  musket  in  front  of  him ;  at  his 
side  stoops  another,  with  musket  trailing.  Behind 
these  two  stands  a  third,  with  a  long  spear.  Back  of 
him  is  one  with  a  sword  in  his  hand.  He  is  in  the  act 
of  speaking  to  Flora  Macdonald ;  his  countenance  de- 
notes affright ;  his  left  hand  points  to  the  opening  in 
the  cave ;  his  body  inclined  backward  slightly.  The 
fifth  figure  is  kneeling  in  the  foreground,  holding  a 
hound  by  the  collar.  The  countenances  of  the  first 
three  outlaws  should  express  caution.  The  faces  of 
the  gentlemen  can  be  disguised  by  false  beards.  The 
scene  must  be  illuminated  by  a  small  quantity  of  red 
21 


242  THE   TABLEAU. 

fire  burned  at  the  front  part  of  the  ante-room,  oppo- 
site the  group  of  outlaws.  Thunder  and  the  falling  of 
rain  imitated  in  the  ante-rooms  will  add  to  the  effect. 
No  music  will  be  required. 


THE   FLOWER   GIRL. 

FLOWERS. 

They  are  the  autographs  of  angels,  penn'd 
In  Nature's  green-leav'd  book,  in  blended  tints, 
Borrowed  from  rainbows  and  the  sunset  skies, 
And  written  every  where  —  on  plain  and  hill, 
In  lonely  dells,  'mid  crowded  haunts  of  men  ; 
On  the  broad  prairies,  where  no  eye  save  God's 
May  read  their  silent,  sacred  mysteries. 

Thank  God  for  flowers  !  they  gladden  human  hearts  ; 
Seraphic  breathings  part  their  fragrant  lips 
With  whisperings  of  Heaven. 

ALBEBT  LAIQHTON. 

One  Female  Figure. 

THE  statue  tableau  of  the  Flower  Girl  is  quite  a 
pretty  design,  and  is  produced  in  the  following  manner  : 
A  pedestal  two  feet  in  height,  with  a  circular  shield  at 
the  top  three  feet  in  diameter,  is  placed  in  the  centre 
of  the  stage,  around  the  sides  and  on  the  top  of  which 
are  arranged  folds  of  white  cloth.  The  young  lady 
who  personates  the  flower  girl  is  to  stand  in  the  centre 
of  the  shield,  holding  in  front  of  her  a  basket  of 
flowers.  She  should  be  of  good  form  and  features. 
Her  costume  consists  of  a  pure  white  robe  cut  low 


PRESENTATION  OP  FIREMAN'S  TRUMPET.  243 

at  the  top  and  long  at  the  bottom,  sleeves  short,  the 
front  of  the  waist  ornamented  with  a  small  bouquet, 
and  a  wreath  of  flowers  or  silver  leaves  around  the 
head,  the  hair  puffed  slightly  at  the  side,  and  con- 
fined at  the  back  of  the  head  with  a  band  of  silver,  and 
allowed  to  hang  in  curls  in  the  neck  ;  the  basket  filled 
to  the  top  with  flowers,  held  at  arm's  length,  and  rest- 
ing against  the  right  side  of  the  front  of  the  body. 
The  lady  faces  the  audience,  inclines  her  body  forward 
a  very  little,  the  hands  grasping  the  basket  at  each 
side,  right  foot  placed  twelve  inches  in  advance  of  the 
left,  head  inclined  back  and  to  the  left,  the  eyes 
directed  forward,  countenance  pleasant.  The  crimson 
curtain,  and  the  two  fairies  used  in  the  "  Bust  of  Pros- 
erpine," can  be  used  in  this  piece,  the  curtain  placed 
above  the  statue,  the  fairies  taking  the  same  position  as 
in  Proserpine.  Illuminate  the  stage  with  the  foot- 
lights. Music  soft  and  plaintive. 


PRESENTATION   OF   FIREMAN'S    TRUMPET. 

"  Honor  to  whom  honor  is  due." 
Eleven  Male  and  Eleven  Female  Figures. 

THIS  interesting  tableau  contains  twenty-two  figures. 
The  scene  represents  a  young  and  beautiful  female 
presenting  a  silver  trumpet  to  a  fireman.  In  the  back- 
ground of  the  stage  there  should  be  erected  a  platform, 


244  THE   TABLEAU. 

from  which  a  flight  of  steps  extends  down  to  the  fore- 
ground. On  the  right  side  of  the  steps  are  young 
ladies  in  appropriate  costumes,  and  at  the  left  of  the 
steps  are  the  comrades  of  the  receiver  of  the  trumpet. 
Standing  in  the  centre  of  the  platform  is  a  young 
lady,  about  to  present  the  trumpet  to  the  fireman,  who 
is  kneeling  at  her  feet.  The  platform  must  be  four 
feet  high  and  two  feet  wide,  the  steps  running  nearly 
across  the  stage,  and  within  three  feet  of  the  footlights. 
At  each  side  of  the  platform  place  a  large  vase  of 
flowers,  and  cover  the  steps  with  green  booking.  The 
ladies'  costume  consists  of  a  white  dress,  with  red  sash 
around  the  waist,  a  wreath  of  myrtle  on  the  head,  and 
a  wreath  of  flowers  held  in  the  right  hand.  The 
gentlemen's  costume  consists  of  a  showy  fireman's  suit. 
The  lady  who  presents  the  trumpet  should  be  costumed 
in  a  white  dress  decorated  with  artificial  flowers,  a 
crown  of  the  same  on  the  head,  and  a  belt  about  the 
waist.  The  ladies  and  gentlemen  at  the  sides  of  the 
stage  are  all  kneeling,  and  in  such  a  position  that  a 
profile  view  is  had  of  the  body.  The  ladies  rest  the 
left  hand  on  the  waist,  and  extend  towards  the  top  of 
the  platform  the  right  hand,  which  holds  the  wreath  of 
flowers.  Their  attention  is  directed  to  the  lady  above,  the 
countenance  expressing  pleasure.  The  gentlemen  form 
in  a  like  manner,  and  raise  the  right  hand  to  the  side 
of  the  face.  The  gentleman  who  receives  the  trumpet 
kneels  on  the  upper  step,  and  in  such  a  position  that 
a  profile  view  will  be  had  of  the  face  ;  the  left  hand 
rests  on  the  waist,  while  the  right  is  extended  to  take 


THE  PAINTER'S  STUDIO.  245 

the  trumpet;  the  head  is  thrown  back  slightly,  the 
eyes  fixed  on  those  of  the  lady,  who  stands  in  tho  cen- 
tre of  the  platform.  Her  body  is  inclined  forward,  eyes 
fixed  on  the  face  of  the  fireman,  right  hand  extended 
and  holding  the  trumpet,  her  countenance  beaming 
with  smiles.  Light  from  the  foot  and  left  side  of  the 
stage  will  be  required,  which  should  be  very  brilliant. 
Music  of  an  operatic  character. 


THE   PAINTER'S   STUDIO. 

The  golden  light  into  the  painter's  room 
Stream'd  richly,  and  the  hidden  colors  stole 
From  the  dark  pictures  radiantly  forth, 
And  in  the  soft  and  dewy  atmosphere 
Like  forms  and  landscapes  magical  they  lay. 
The  walls  were  hung  with  armor,  and  about 
In  the  dim  corners  stood  the  sculptured  forms 
Of  Cytheris,  and  Dian,  and  stern  Jove  ; 
And  from  the  casement  soberly  away, 
Fell  the  grotesque  long  shadows,  full  and  true, 
And,  like  a  veil  of  filmy  mellowness, 
The  lint-specks  floated  in  the  twilight  air. 

WILLIS. 

One  Female  and  One  Male  Figure. 

A  REPRESENTATION  of  a  painter's  studio.  Scattered 
about  the  room  are  works  of  art,  fine  paintings,  por- 
traits, statuary,  vases  of  ancient  form,  and  flowers.  A 
guitar  and  flute  hang  from  the  wall,  and  at  the  left  of 
the  stage  is  a  large  picture,  with  a  crimson  curtain 
partially  drawn  across  it.  The  painter's  easel  stands 
at  the  right  of  the  stage  ;  on  it  is  an  unfinished  por- 
21* 


246  THE   TABLEAU. 

trait  of  a  lady.  A  small  table,  sofa,  and  three  ancient 
chairs  complete  the  furniture  of  the  room.  The  artist 
is  seated  in  one  of  the  chairs,  engaged  in  painting  the 
lady's  portrait.  The  lady  is  seated  in  a  chair  in  the 
centre  of  the  stage,  her  feet  resting  on  a  small  cushion, 
right  elbow  placed  on  the  table  which  is  by  her  side, 
and  eyes  fixed  on  a  book  which  she  holds  in  her  left 
hand.  A  few  showy  bound  books  and  a  small  bust 
may  be  placed  on  the  table.  The  lady's  costume  con- 
sists of  a  pink  or  blue  silk  dress,  cut  low  at  the  neck, 
sleeves  of  usual  length,  hair  done  up  to  suit  the  per- 
former's taste.  Her  position  is,  facing  the  audience. 
The  artist's  costume  consists  of  a  rich  dressing  gown,  a 
red  velvet  cap  with  a  gold  tassel,  light  pants  and  vest. 
His  position  is  such  that  a  side  view  is  had  of  the  fea- 
tures, the  left  hand  holding  a  pallet  and  brushes,  the 
right  grasping  a  small  brush,  which  he  is  in  the  act  of 
using.  His  eyes  are  fixed  on  the  picture,  countenance 
expressing  earnestness.  Illuminate  the  background  of 
the  scene  with  a  small  quantity  of  red  fire,  the  fore- 
ground with  light  of  medium  brilliancy,  both  of  which 
should  come  from  the  right  side  of  the  stage.  Music 
soft  and  plaintive. 


PORTBAIT  OF  GABEIELLE.  247 


PORTRAIT  OF   GABRIELLE. 

There's  nothing  ill  can  dwell  in  such  a  temple : 
If  the  ill  spirit  have  so  fair  a  house, 
Good  things  will  strive  to  dwell  with  't. 

TEMPEST. 

One  Female  Figure. 

THIS  tableau  is  suggested  by  the  beautiful  picture  by 
De  la  Roche,  one  of  the  most  eminent  of  French 
painters.  The  best  portrait  of  Napoleon  I.  was  painted 
by  this  artist.  The  subject  of  the  painter  is  Gabrielle. 
The  person  who  represents  this  portrait  should  have 
fine  Grecian  features,  small  figure,  and  hair  that  will 
curl  profusely.  The  costume  consists  of  a  pink  bro- 
cade cut  low  at  the  top,  open  in  the  form  of  a  square 
in  front,  and  trimmed  with  white  lace  and  black  velvet. 
The  hair  must  be  parted  in  the  centre  of  the  forehead, 
puffed  out  at  the  side,  and  arranged  in  short  curls  in 
the  neck.  A  band  of  velvet  one  inch  wide  in  the  mid- 
dle, and  tapered  to  a  point  at  each  end,  with  a  silver 
star  studded  with  spangles  on  the  widest  part,  should 
be  placed  around  the  head.  The  frame,  behind  which 
the  lady  takes  her  seat,  is  constructed  as  follows :  Out 
of  boards  make  a  solid  frame,  four  feet  long  and  three 
feet  wide,  with  a  cornice  on  the  outside.  From  the 
centre,  cut  out  an  oval  three  feet  long  and  two  feet 
wide  ;  cover  the  frame  with  black  cambric  or  velvet, 
and  ornament  the  cornice  and  edge  of  the  oval  with 
gold  paper ;  place  the  frame  at  the  back  of  the  stage  on 


248  THE   TABLEAU. 

a  platform  or  box  three  feet  high,  three  feet  wide,  and 
two  feet  deep  ;  fasten  the  frame  by  means  of  hooks  or 
screws  to  the  top  of  the  box,  flush  with  the  front ; 
attach  a  heavy  crimson  cord  and  tassel  to  the  top,  and 
pass  it  over  a  brass  hook  screwed  to  the  ceiling.  The 
lady  takes  her  seat  behind  the  frame,  in  such  a  position 
as  will  display  a  partial  side  view  of  the  head  and 
chest  in  the  centre  of  the  oval,  the  eyes  cast  down,  the 
countenance  expressing  sorrow.  After  the  lady  has 
taken  her  position,  the  box  must  be  entirely  covered 
with  black  cambric,  and  a  curtain  of  the  same  material 
should  be  fastened  to  the  top  of  the  frame,  and  allowed 
to  trail  back  of  the  lady  to  the  floor.  With  a  medium 
quantity  of  light  from  the  front  of  the  stage,  the  tab- 
leau at  a  distance  will  resemble  a  painted  portrait.  A 
large  variety  of  pictures  can  be  produced  in  this  man- 
ner, and  at  little  expense.  Music  for  this  scene  should 
be  of  a  sacred  character,  and  quite  soft. 


THE  ELOPEMENT.  249 


THE   ELOPEMENT. 

Dear  art  thou  to  the  lover,  thou  sweet  light, 
Fair,  fleeting  sister  of  the  mournful  night ! 
As  in  impatient  hope  he  stands  apart, 
Companioned  only  by  his  beating  heart, 
And  with  an  eager  fancy  oft  beholds 
The  vision  of  a  white  robe's  fluttering  folds 
Flit  through  the  grove,  and  gain  the  open  mead, 
True  to  the  hour  by  loving  hearts  agreed ! 
At  length  she  comes.    The  evening's  holy  grace 
Mellows  the  glory  of  her  radiant  face  ; 
The  curtain  of  that  daylight,  faint  and  pale, 
Hangs  round  her  like  the  shading  of  a  veil ; 
As  turning  with  a  bashful  timid  thought, 
From  the  dear  welcome  she  herself  hath  sought, 
Her  shadowy  profile  drawn  against  the  sky, 
Cheats  while  it  charms  his  fond  adoring  eye. 

MBS.  NOKTOIC. 

One  Male  and  Two  Female  Figures. 

THIS  is  a  very  pretty  tableau,  in  two  parts.  The  first, 
represents  a  young  gentleman,  standing  at  the  foot  of 
a  rope  ladder  which  reaches  to  the  railing  of  a  balcony 
on  the  front  of  a  dwelling  house  ;  leaning  over  the 
railing  is  a  young  and  lovely  maiden,  who  is  about 
to  make  her  descent  on  the  ladder  to  her  lover  below. 
The  gentleman  grasps  the  rope  with  the  left  hand,  and 
holds  the  right  upward  in  the  act  of  beckoning  to  the 
lady.  His  position  is  such  that  a  side  view  is  had  of 
the  body ;  his  head  thrown  back,  eyes  directed  to  the 
balcony,  countenance  expressing  pleasure  and  entreaty. 
His  costume  consists  of  a  dark  coat,  trimmed  around 
the  edge  with  purple  lace  or  gimp,  light  breeches,  black 


250  THE   TABLEAU. 

hose,  colored  vest,  low  shoes,  knee  and  shoe  buckles, 
red  sash  about  the  waist,  black  felt  hat  with  plume, 
velvet  cape  on  the  left  shoulder,  lace  collar  and  wrist- 
bands, ruffled  bosom,  and  mustache.  The  lady  is 
attired  in  a  bright-colored  silk  robe,  riding  hat,  and  red 
scarf.  The  balcony  can  be  made  of  boards,  and  cov- 
ered with  fresco  paper,  representing  two  pillars,  a  cor- 
nice, and  a  railing  above.  The  second  scene,  which 
follows  immediately,  represents  the  lady  and  her  lover 
just  about  to  step  into  the  ante-room,  opposite  the  bal- 
cony. The  gentleman  has  his  right  arm  around  the 
waist  of  the  lady,  the  left  extended  towards  the  bal- 
cony, face  turned  in  that  direction,  his  back  to  the  au- 
dience, the  countenance  expressing  caution.  The  lady 
places  her  left  hand  on  the  gentleman's  shoulder,  and 
the  right  on  her  breast ;  her  eyes  are  directed  to  the 
ante-room.  A  front  view  is  had  of  her  form.  The 
head  of  the  gentleman  turned  to  the  balcony  will  give 
a  partial  side  view  of  the  face.  The  young  lady's 
mother  is  seen  on  the  balcony,  looking  out  into  the 
darkness,  and  holding  a  crutch  before  her,  as  if  in  the 
act  of  striking.  Her  costume  consists  of  a  white  robe 
and  nightcap.  The  light  for  the  first  scene  should  be 
of  medium  brightness,  and  come  from  the  ante-room 
opposite  the  balcony.  In  the  second  scene,  it  will  be 
necessary  to  produce  the  light  on  the  other  side  of  the 
stage,  which  will  throw  the  balcony  in  the  shade.  The 
low  rumbling  of  thunder,  and  the  noise  of  falling  rain, 
produced  in  the  ante-room,  will  add  to  the  effect  of  the 
scene. 


FIREMAN'S  COAT  OF  ARMS.  251 


FIREMAN'S   COAT  OF  ARMS. 

By  Jove  !  I'll  have  a  fine  establishment, 
And  keep  a  coat-of-arms  ! 

MUGGINS. 
Two  Female   Figures. 

THIS  tableau  represents  an  oval  shield  richly  orna- 
mented with  gold,  on  which  are  fastened  engine  pipes, 
colored  lanterns,  trumpets,  axes,  fire  hooks,  buckets, 
hats,  &c.  These  radiate  from  the  centre,  and  are 
surrounded  by  a  wreath  of  gold  stars,  five  inches  in 
diameter.  It  rests  on  a  pedestal,  and  is  supported  on 
each  side  by  female  figures.  The  shield  is  seven  feet 
high  and  four  feet  wide,  the  surface  covered  with  blue 
cambric,  with  a  border  of  crimson  five  inches  wide, 
shaded  with  a  band  of  gold  one  inch  in  width.  The 
pedestal  is  six  feet  long,  one  foot  high,  and  three  feet 
wide,  the  surface  covered  with  crimson  cloth,  with  a 
black  and  gold  border  six  inches  wide,  and  an  appro- 
priate motto  on  the  front  in  letters  of  gold.  The  young 
ladies  who  support  the  shield  must  be  of  equal  height, 
good  figure  and  features.  Their  costume  consists  of  a 
white  robe  cut  low  in  the  neck,  skirt  made  to  trail  on 
the  pedestal,  red  or  black  velvet  waist,  ornamented  with 
gilt  buttons  and  lace,  and  fireman's  hat  on  the  head. 
Their  position  is  at  the  sides  of  the  shield,  facing  the 
audience  ;  one  arm  is  laid  at  full  length  on  the  top  of 
the  oval,  the  other  hangs  at  the  side,  the  hand  grasping 
a  small  wreath  of  myrtle.  The  head  should  be  slightly 


252  THE   TABLEAU. 

turned  towards  the  shield,  eyes  looking  forward,  coun- 
tenance calm.  The  light  for  the  tableau  must  be  of 
medium  brilliancy,  and  come  from  the  front  of  the 
stage.  Music  -soft. 

THE   SOLDIER'S   FAREWELL. 

I  could  not  love  thee,  dear,  so  much, 
Loved  I  not  honor  more. 

SIB  RICHARD  LOVELACE. 

Three  Female  and  Three  Male  Figures. 

A  REPRESENTATION  of  a  young  recruit,  about  to  leave 
his  country  home  for  the  first  time  to  join  the  army. 
In  the  background  is  to  be  seen  a  cottage,  with  trel- 
lised  vines  running  over  the  door.  The  young  soldier 
is  standing  in  front  of  the  cottage,  bidding  farewell  to 
his  young  bride,  who  stands  at  his  side.  They  both 
face  the  audience.  She  has  her  right  arm  around  his 
neck,  and  is  looking  into  his  face.  The  soldier  rests 
his  left  arm  on  her  shoulder,  and  points  to  the  side  of 
the  stage  with  the  right  hand.  His  eyes  are  fixed  on 
the  face  of  his  bride.  Near  the  doorstep  stands  a  gray-  . 
haired  old  man,  the  father  of  the  soldier  ;  he  faces  the 
audience,  and  is  holding  a  musket,  the  lock  of  which 
he  is  examining.  At  the  left  of  the  soldier  stands  a 
young  maiden,  in  a  position  that  exhibits  a  side  view  of 
the  body.  She  is  looking  to  the  two  figures  in  front  of 
he*,  and  holds  a  sword  and  belt.  In  the  doorway  is 
seen  the  mother  of  the  soldier,  holding  a  handkerchief 


THE  SOLDIER'S  FAREWELL.  253 

to  her  eyes.  A  little  boy  stands  at  the  right  of  the 
door,  with  a  tin  sword  fastened  about  his  waist,  a  paper 
cap  on  his  head,  and  is  engaged  in  blowing  on  a  tin 
trumpet.  The  cottage  can  be  framed  of  wood,  covered 
with  cloth,  and  painted  in  showy  colors ;  body  of  the 
house  light  brown,  frames,  cornice,  and  door  green, 
roof  red,  arid  window  panes  black.  The  cottage  stands 
in  the  centre  of  the  stage,  with  the  space  on  the  sides 
filled  up  with  a  small  white  fence  and  two  spruce  trees. 
The  vines  over  the  door  can  be  painted  on  the  house, 
or  made  of  evergreens  and  flowers,  and  tacked  to  the 
frame.  The  soldier's  costume  consists  of  a  continental 
uniform  —  blue  coat,  faced  with  buff,  buff  vest  and 
breeches,  white  hose,  knee  and  shoe  buckles,  low  shoes, 
white  breast  belts,  and  chapeau.  The  wife  is  costumed 
in  a  blue  dress,  cut  very  short,  and  high  at  the  top, 
white  apron,  white  hose,  small  handkerchief  tied  about 
the  neck,  hair  arranged  to  suit  the  taste  of  the  per- 
former. The  young  lady  should  be  costumed  in  a 
white  dress,  green  apron,  and  straw  hat,  hair  hanging 
in  curls,  and  ornamented  with  red  ribbons.  The  old 
gentleman's  costume  consists  of  a  long  gray  or  drab 
coat,  light  vest  and  breeches,  black  hose,  knee  and  shoe 
buckles,  low  shoes,  ruffled  bosom,  and  chapeau.  The 
aged  matron  is  costumed  in  a  light  brown  dress,  calico 
apron,  white  cap,  black  collar.  The  boy  can  be  attired 
in  any  costume  that  has  a  variety  of  colors.  Cover  the 
floor  of  the  stage  with  green  booking,  and  light  the 
tableau  from  the  left  side.  A  tenor  drum  should  be 
beaten  in  the  ante-room  while  the  curtain  is  raised. 
22 


254  THE   TABLEAU. 


IKE    PARTINGTON'S   GHOST. 

Be  thou  a  spirit  of  health  or  goblin  damned, 

Bringing  with  thee  airs  from  heaven  or  blasts  from  hell, 

Be  thy  intents  .wicked  or  charitable  ? 

Thou  com'st  in  such  a  questionable  shape 

That  I  will  speak  to  thee. 

SHAKSPEAEE. 

One  Female  and  One  Male  Figure. 

THIS  tableau  represents  Ike  seated  on  the  top  of  a 
pump  in  the  front  yard  of  his  mother's  cottage,  while 
the  old  lady  is  seen  in  the  background,  peeping  over 
the  fence  with  looks  of  horror  and  astonishment.  The 
person  who  represents  Ike  should  be  of  medium  height 
and  youthful  looking.  Costume  consists  of  an  old 
military  coat  and  hat,  large  sword  attached  to  a  belt 
about  the  waist,  light  pants  with  red  stripe,  and  large 
boots.  The  old  lady  is  dressed  in  a  cheap  calico  dress 
and  white  cap.  The  pump  can  be  made  of  wood,  cov- 
ered with  light  brown  cambric,  the  handle  painted 
black.  A  rough  representation  of  a  house  should  be 
painted  on  cloth,  and  placed  at  the  rear  of  the  stage. 
A  few  feet  from  the  house,  erect  a  low  white  slat  fence, 
with  a  gate  in  the  centre  ;  a  wheelbarrow,  shovel,  hoe, 
broom,  and  water  bucket  are  scattered  about  the  stage. 
Ike  sits  on  the  pump,  and  faces  the  audience.  His 
head  is  drawn  down  within  the  coat  collar,  hands 
placed  on  his  knees,  and  eyes  rolled  up  into  his  head. 
Light  the  stage  very  little,  and  produce  discordant 
sounds  on  a  melodeon  in  the  ante-room. 


THE   PEASANT   FAMILY  IN  EEPOSE.  255 


THE  PEASANT  FAMILY  IN  REPOSE. 

Let  not  Ambition  mock  their  useful  toil, 
Their  homely  joys,  and  destiny  obscure, 

Nor  Grandeur  hear,  with  a  disdainful  smile, 
The  short  and  simple  annals  of  the  poor. 


Two  Female  and  Three  Male  Figures. 

THIS  scene  represents  a  group  of  peasants  resting  on 
their  journey.  The  party  comprises  an  aged  couple 
and  three  children.  They  are  seated  on  a  grassy 
mound  at  the  side  of  the  road.  The  children  lie  in 
the  foreground  of  the  mound  in  various  positions,  and 
are  asleep.  The  old  gentleman  is  seated  on  the  back 
side  of  the  mound,  which  is  higher  than  the  front,  and 
in  such  a  position  that  a  side  view  is  had  of  the  body. 
His  head  rests  on  his  left  hand,  the  elbow  resting  on 
the  knee  ;  the  right  hand  holds  a  cane ;  countenance 
calm.  Costume  consists  of  a  long,  loose  blue  frock, 
brown  pants,  black  beaver  hat,  considerably  worn  and 
out  of  shape,  white  hair  and  beard.  At  the  side  of  the 
old  man,  on  the  lower  part  of  the  mound,  is  seated  the 
old  lady.  She  faces  the  audience,  and  leans  her  head 
on  her  right  hand,  the  elbow  placed  on  the  knee,  eyes 
directed  to  the  children,  countenance  expressing  deep 
thought.  Costume  consists  of  a  brown  dress,  white 
handkerchief  tied  about  the  neck,  and  a  hood  on  the 
head.  In  front  of  these  figures  is  a  young  girl,  her 
back  resting  against  the  highest  part  of  the  mound, 


256  THE   TABLEAU. 

the  head  inclined  to  one  side,  one  arm  placed  across 
the  form  of  a  boy  at  her  side,  her  eyes  closed.  She  is 
dressed  in  a  white  robe,  blue  apron,  and  stout  shoes, 
head  uncovered.  A  small  boy  reclines  at  her  side,  and 
rests  his  head  on  her  lap.  Costume  consists  of  a  red 
frock,  trimmed  with  white.  In  front  of  these  two  fig- 
ures is  a  large  boy.  He  lies  on  the  grass,  and  rests  his 
head  on  his  arm;  his  eyes  are  closed,  countenance 
calm.  He  is  costumed  in  a  dark  coat,  light  pants, 
white  collar,  thick  boots,  and  felt  hat.  The  mound 
on  which  the  tableau  is  formed  can  be  constructed 
of  boxes,  and  covered  with  green  booking.  It  should 
be  six  feet  in  diameter,  varying  from  one  to  two  feet  in 
height,  and  placed  in  the  centre  of  the  stage.  The 
scene  will  require  but  a  small  quantity  of  light,  which 
must  come  from  the  right  side  of  the  stage.  Music 
soft  and  of  a  plaintive  character. 


THE  SOLDIER'S  RETURN.  257 


THE   SOLDIER'S   EETUKN. 

O  that  'twere  possible, 

After  long  grief  and  pain, 
To  find  the  arms  of  my  true  love 
Round  me  once  again. 

*  *  * 

We  stood  tranced  in  long  embraces 
Mixed  with  kisses  sweeter,  sweeter 
Than  any  thing  on  earth. 

MAUD. 


Three  Female  and  Four  Male  Figures. 

THIS  interesting  tableau  is  designed  to  appear  in 
connection  with  the  soldier's  farewell,  and  is  repre- 
sented by  seven  persons.  The  cottage  and  other  sce- 
nery described  in  the  "  Soldier's  Farewell "  is  used  in 
this  piece,  and  is  to  be  placed  in  the  same  position.  At 
the  left  of  the  stage,  near  the  front,  stands  a  young  gen- 
tleman dressed  as  a  hackman.  He  carries  a  trunk  on 
his  shoulder,  and  a  valise  in  his  left  hand ;  his  position 
is  such  that  a  side  view  is  had  of  the  features ;  his  eyes 
cast  down  to  the  floor,  body  slightly  bent  forward ;  a 
few  paces  in  front  of  him  stands  the  young  soldier, 
with  arms  outstretched  to  receive  his  wife,  who  is 
standing  in  front  of  the  doorstep,  in  the  act  of  running 
towards  him.  The  soldier  shows  a  side  view  of  his 
form,  his  feet  extended  apart,  body  bent  forward,  eyes 
fixed  on  his  wife,  countenance  smiling.  The  wife  faces 
the  audience ;  her  arms  are  raised,  eyes  directed  to 
those  of  her  husband,  countenance  pleasant.  The 
22* 


258  THE   TABLEAU. 

father  and  mother  of  the  soldier  are  seated  in  large 
chairs  at  the  sides  of  the  door.  A  young  man  is  seen 
climbing  over  the  fence.  He  holds  a  rake  in  his 
hand,  and  is  looking  at  the  soldier.  A  young  lady  is 
on  the  doorstep  in  the  position  of  one  running,  her 
eyes  fixed  on  the  group  at  the  front  of  the  stage,  coun- 
tenance expressing  surprise.  Costume  similar  to  the 
one  described  in  the  Farewell.  The  boy's  costume  con- 
sists of  blue  overalls,  white  shirt,  and  straw  hat.  The 
old  lady  and  gentleman  wear  the  suits  described  in  the 
first  scene.  The  old  gentleman  has  a  pair  of  crutches 
by  his  side,  and  is  smoking  a  pipe.  The  old  lady  wears 
spectacles,  and  holds  a  newspaper  in  the  left  hand,  and 
points  to  the  soldier  with  the  right ;  her  eyes  are 
turned  to  her  husband,  countenance  expressing  sur- 
prise. The  soldier's  wife  has  on  a  white  dress  with  a 
velvet  waist.  The  soldier  is  costumed  in  the  suit  that 
we  described  in  the  Farewell,  with  the  addition  of  a  red 
sash  about  the  waist,  gold  epaulets  on  the  shoulders, 
and  a  showy  plume  in  his  hat.  The  hackman's  cos- 
tume consists  of  a  rubber  coat  and  cap,  long  boots,  and 
light  pants.  The  scene  requires  a  medium  light,  which 
should  come  from  the  side  opposite  the  soldier.  Music 
of  a  cheerful  and  lively  style. 


NOTES  AND  EXPLANATIONS.  259 


NOTES   AND    EXPLANATIONS. 


FOR  PREPARING  A  BRILLIANT  RED  FIRE. 

WEIGH  five  ounces  of  dry  nitrate  of  strontia,  one  ounce  and  a  half 
of  finely-powdered  sulphur,  five  drams  of  chlorate  of  potash,  and 
four  drams  of  sulphuret  of  antimony.  Powder  the  sulphuret  of  an- 
timony and  chlorate  of  potash  separately  in  a  mortar,  and  mix  them 
on  paper ;  after  which  add  them  to  the  other  ingredients,  previously 
powdered  and  mixed.  For  use,  mix  with  a  portion  of  the  powder  a 
small  quantity  of  spirits  of  wine,  in  a  tin  pan  resembling  a  cheese- 
toaster  ;  light  the  mixture,  and  it  will  shed  a  rich  crimson  hue. 
When  the  fire  burns  dim  and  badly,  a  very  small  quantity  of  finely- 
powdered  charcoal  or  lamp-black  -will  revive  it.  This  light  is  used 
in  finale  scenes,  where  the  subject  is  heroic,  national,  or  martial. 


GREEN  FIRE. 

A  beautiful  green  fire  may  be  thus  made :  Take  of  flour  of  sul- 
phur, thirteen  parts ;  nitrate  of  baryta,  seventy-seven  ;  oxy-muriate 
of  potassa,  five ;  metallic  arsenic,  two  ;  and  charcoal,  three.  Let  the 
nitrate  of  baryta  be  well  dried  and  powdered ;  then  add  to  it  the  other 
ingredients,  all  finely  pulverized,  and  exceedingly  well  mixed  and 
rubbed  together.  Place  a  portion  of  the  composition  on  a  small  tin 
pan  having  a  polished  reflector  fitted  to  one  side,  and  set  fire  to  it, 
when  a  splendid  green  illumination  will  be  the  result.  By  adding  a 
little  calamine,  it  will  burn  more  slowly. 


260  THE   TABLEAU. 


PUEPLE  TIRE. 

A  purple  fire  is  produced  by  dissolving  chloride  of  lithium  in  spirits 
of  wine,  and  when  lighted  it  will  burn  with  a  purple  flame. 


WHITISH-BLUE  FIRE. 

Take  of  nitrate  of  baryta,  twenty- seven  parts,  by  weight ;  of  sul- 
phur, thirteen  ;  of  chloride  of  potassa,  five  ;  of  realgar,  two  ;  and  of 
charcoal  three  parts.  Incorporate  them  completely,  and  when  in- 
flamed they  will  emit  a  whitish-blue  light,  accompanied  by  much 
smoke.  This  light  is  much  used  in  fairy  scenes. 


YELLOW  FIRE. 

Mix  some  common  salt  with  spirits  of  wine,  in  a  metal  cup,  and  set 
it  upon  a  wire  frame,  over  a  spirit  lamp.  When  the  cup  becomes 
heated,  and  the  spirits  of  wine  ignited,  the  other  lights  on  the  stage 
should  be  extinguished,  and  that  of  the  spirit  lamp  shaded  in  some 
way.  The  result  will  be,  that  the  whole  group,  faces,  dresses,  will  be 
of  a  strong  yellow  tint.. 


COLORED  LIGHTS. 

Colored  lights  can  be  produced  by  filling  globes  with  colored  liquid, 
and  placing  them  in  front  of  the  lamps,  like  those  we  see  in  the  win- 
dows of  the  chemists'  shops. 


NOTES   AND   EXPLANATIONS.  261 


TO   PRODUCE  A  MISTY   OR   VANISHING  APPEARANCE 
TO   A  TABLEAU. 

Several  curtains  of  thin  gauze,  or  common  mosquito  netting,  made 
to  let  down  from  rollers,  one  after  another,  between  the  audience  and 
the  scene,  will  give  a  beautiful,  misty  appearance  ;  and  if  a  sufficient 
number  of  curtains  be  unrolled,  the  tableau  appears  to  vanish  en- 
tirely, allowing  room  for  a  change  of  scenery.  Many  scenes  should 
have  one  thickness  of  muslin  before  them,  which  serves  to  blend  the 
colors,  and  gives  a  finish  to  the  picture.  The  gauze  must  be  carefully 
managed,  as  the  disclosure  of  a  ragged  edge  will  dispel  all  the 
illusion. 


TO  PRODUCE   SOUNDS  LIKE  FALLING  RAIN. 

Procure  a  box  six  feet  long,  one  foot  jivide,  and  one  deep.  Cover 
the  bottom  with  small  pegs  of  wood  one  inch  high,  and  inserted  two 
inches  apart.  Place  a  quart  of  dried  peas  at  one  end  of  the  box ; 
then  raise  that  end  quite  slowly,  allowing  the  peas  to  roll  gradually 
down  to  the  lower  part  of  the  box.  The  sound  they  produce  in 
striking  against  the  pegs  imitates  to  perfection  the  falling  of  rain. 
The  sound  can  be  continued  for  any  length  of  time  by  raising  alter- 
nately each  end  of  the  box. 


TO  PRODUCE   SOUNDS  LIKE  DISTANT  FIRING  OF 
ARTILLERY. 

Suspend  a  large  sheet  of  Russia  iron  by  means  of  a  rope,  and  strike 
it  in  the  centre  with  a  heavy  drumstick.  At  a  short  distance,  the 
sound  resembles  the  booming  of  heavy  artillery. 


262  THE   TABLEAU. 


TO  PRODUCE   SOUND  TO  RESEMBLE  THUNDER. 

Hold  a  large  sheet  of  Russia  iron  at  one  end  and  commence  shaking 
it  very  slowly.  It  will  give  out  a  low,  rumbling  sound,  which  can  be 
gradually  increased  in  power.  Graduate  the  sounds  from  heavy  peals 
to  the  first  starting  point,  then  discontinue  the  shaking  for  a  few 
seconds,  and  repeat  the  variety  of  changes  as  long  as  is  necessary. 


TO  IMITATE  THE  FIRE   ALARM  BELL. 

Suspend  to  a  wooden  frame  two  pieces  of  steel  two  inches  square 
and  three  feet  long.  Select  pieces  that  will  give  out  different  tones, 
and  strike  them  alternately  with  an  iron  hammer.  They  will  sound 
much  clearer  and  louder  than  any  small  bells. 


DISTANT  FIRING  OF  MUSKETRY. 

Sounds  similar  to  a  distant  discharge  of  musketry  can  be  produced 
in  a  number  of  ways.  The  tenor  drum  can  be  made  to  give  out 
sounds  to  resemble  volleys  of  musketry.  Leaden  shot  dropped  into  a 
large  tin  pan  will  produce  a  good  imitation.  A  fireman's  rattle  can 
be  also  used  for  the  same  purpose. 


MAGIC  LIGHTNING. 

Mix  gunpowder  with  a  small  quantity  of  water  and  gum  arabic, 
and  with  a  brush  place  it  on  a  screen  in  the  background  in  an  irreg- 
ular manner,  resembling  flashes  of  lightning.  The  screen  being  pre- 
viously painted  to  resemble  thunder  clouds,  let  there  be  a  number  of 


NOTES  AND   EXPLANATIONS.  263 

distinct  flashes  painted,  the  ends  of  which  should  be  near  the  ante- 
room. At  intervals  of  thirty  seconds,  touch  a  lighted  fusee  to  one  of 
these  paintings,  which  will  burn  quickly,  illuminate  the  clouds,  and 
resemble  lightning  flashes. 


TO   STAIN  THE  FLESH  A  COPPER  COLOR. 

To  stain  the  flesh  a  copper  color,  as  is  necessary  in  representing 
Indian  characters,  use  Spanish  brown,  mixed  with  oil,  and  rub  in 
thoroughly. 

TO  MAKE  WRINKLES. 

Use  India  ink,  moistened  with'  water,  softening  the  lines  with  chalk, 
if  necessary.  Moustaches  and  whiskers  may  also  be  made  with  the 
same  material. 

FLESH  WOUNDS,   &c. 

Flesh  wounds  and  blood  may  be  represented  by  the  use  of  rose 
pink  mixed  with  water. 


THEATRICAL  INCANTATIONS. 

Dissolve  crystals  of  nitrate  of  copper  in  spirits  of  wine.  Light  the 
solution,  and  it  will  burn  with  a  beautiful  emerald  green  flame. 
Pieces  of  sponge  soaked  in  this  spirit,  lighted  and  suspended  by  fine 
wires  over  the  stage,  produces  the  lambent  green  flames  now  so  com- 
mon in  incantation  scenes ;  strips  of  flannel  saturated  with  it,  and 
applied  round  copper  swords,  tridents,  &c.,  produce,  when  lighted, 
the  flaming  swords  and  fire  forks  brandished  by  the  demons  in  such 
scenes ;  indeed,  the  chief  consumption  of  nitrate  of  copper  is  for 
these  purposes. 


264  THE    TABLEAU 


LIGHTS  AND   SHADES. 

If  you  wish  to  throw  the  background  of  a  tableau  in  shade,  inter- 
vene screens  between  the  lights  at  the  sides  of  the  stage  and  that  part 
of  the  picture  you  desire  to  have  dark  ;  vice  versa  with  the  foreground. 
Particular  points  or  characters  can  be  more  brilliantly  lighted  than 
others  by  placing  at  the  side  of  the  stage  a  strong  light  within  a  large 
box,  open  at  one  side,  and  lined  with  bright  reflectors.  Light  of  dif- 
ferent colors  can  be  thrown  successively  on  a  picture,  and  made  to 
blend  one  with  another,  by  placing  the  various  colored  fires  in  boxes 
three  feet  square,  open  at  one  side,  and  lined  with  bright  reflectors ; 
these,  arranged  at  the  side  of  the  stage  on  pivots,  can  be  turned  on, 
one  after  another,  so  as  to  throw  their  light  on  the  stage.  Before 
one  light  has  entirely  vanished  from  the  scene,  a  different  color  should 
gradually  take  its  place. 


ART   RECREATIONS: 


A  COMPLETE  GUIDE  TO 


PENCIL  DRAWING, 

OIL  PAINTING, 

WATER-COLOB  PAINTING, 

CRAYON  DRAWING  AND  PAINTIN8, 

PAINTING   ON  GROUND   GLASS, 

GRECIAN  PAINTING, 

ANTIQUE  PAINTING, 

ORIENTAL  PAINTING, 

SIGN  PAINTING, 

THEOREM  PAINTING, 


MOSS  WORK, 

PAPIER   MACHE, 

CONE  WORK, 

FEATHER   FLOWERS, 

POTICHOMANIE, 

LEATHER  WORK, 

HAIR  WORK, 

TAXIDERMY, 

GILDING  AND  BRONZING, 

PLASTER  WORK, 

BY 


WAX  WORK, 
SHELL  WORK, 
MAGIC  LANTERN, 
PAPER   FLOWERS, 
IMITATION   OF  PEARL, 
THE   AQUARIUM, 
SEALING-WAX   PAINTING, 
PANORAMA  PAINTING, 
COLORING   PHOTOGRAPHS, 
ENAMEL  PAINTING,   ETC. 


MADAME  L.  B.  URBINO,  PROF.  HENRY  DAY,  AND  OTHERS. 


WITH  VALUABLE  RECEIPTS  FOR  PREPARING  MATERIALS. 


Illustrate. 


BOSTON: 
J.  E.  TILTON    AND    COMPANY. 

1860. 


GERMAINE 


EDMOND     ABOUT, 

AU-THOK    OF    "THE    ROMAS    QUESTION,"    ETC. 


TRANSLATED 


BY    MARY    L.    BOOTH 


BOSTON: 
J.    E.    TILTON    AND    COMPANY. 

1860. 


University  of  California 

SOUTHERN  REGIONAL  LIBRARY  FACILITY 

405  Hilgard  Avenue,  Los  Angeles,  CA  90024-1388 

Return  this  material  to  the  library 

from  which  it  was  borrowed. 


'•M  •  ••;  :wAwVnswa«.'*(^r 

IB 

j  '  -   mmtiimmm 


